1064 - The camera pans on a tree limb pressing against one of the Old House door knockers. As Barnabas and Julia enter, he asks, who could have been at the window?  She's sitting in a chair, looking stunned, and doesn't respond. The same man who tried to kill you? suggests Barnabas, lighting candles--yes, something strange about his appearance--he was wearing clothes from another century--a ghost from the past. I can't get it out of my mind! cries Julia, pressing her hands against her face as if trying to blot out the image. His arrogance, says Barnabas. No, it was more than arrogance, counters Julia, it was hatred, even more than hatred, it was the very essence of evil--I felt evil all around me--I was trapped by it--it made me aware of something deep inside me that I don't even understand--it's as though with that one look--you didn't feel it? She clutches her collar around her throat as if trying to protect herself. No, says Barnabas, apparently my powers protect me, or perhaps because I'm not truly human and immune to that  particular weakness. At least we now know the power that runs Collinwood, Julia says. Do we? he asks. Yes, it's a force of evil and corruption, she says. I don't doubt the evil of that ghost, says Barnabas --but is he the only force at Collinwood? I can't imagine any others surviving its presence, says Julia. (The Sam Evans-painted portrait of Barnabas above the mantle is askew.) There's the music we heard, he says. I know you said music is seldom used to frighten, she says, but I can't imagine there being another presence there.  I wish I knew, he says--you stay here and try to get some rest. Where will you go? she asks. Carolyn, he says, tell her about the ghost and find out what I can. I'll come with you, she offers.  Wouldn't you be better off staying here? he asks. Alone? she asks, with a tiny smile--I'm not that brave, Barnabas, not that brave. Barnabas blows out the candles and she follows him out.

Carolyn brushes her still-long (and still-blond) hair. (she doesn't look in her fifties)  Mrs. Johnson, sitting nearby, says, "I know what you're doing." Brushing my hair, says Carolyn--when I was a young girl, you used to brush it for me, remember? (when was that?--Mrs. J came to Collinwood when Carolyn was already an adult.)  Carolyn hands Mrs. Johnson the brush.   The older woman begins to brush her hair--"You're planning to go to Collinwood tonight, aren't you?" asks Mrs. J.  Carolyn archly eyes the other woman over her shoulder.  Perhaps, she grins. You can't--you mustn't, insists Mrs. Johnson. Why not? demands Carolyn, irritated. Because you don't belong there anymore, no one does, says Mrs. J. Carolyn begins to laugh, and says, "Dear Mrs. Johnson--if you only knew how wrong you are." Mrs. J stares at her, concerned. Carolyn opens her photo album and begins to look at the pictures. Mrs. Johnson begs--you're going to go there once too often. I can go there anytime I like! Carolyn says petulantly, like a child about to have a tantrum--my mother was a Collins, and so am I--do I need to remind you that you are only a servant? I only want to help you, says Mrs. Johnson miserably. Carolyn smiles--I must go this evening, she says--it's his birthday and he's expecting me--I should take him a present, shouldn't I--what should it be?  She rises from the chair and begins to look around the cottage. Frustrated, she asks, where are all the beautiful things I used to have?--I have nothing to take him, nothing!  Mrs. Johnson tries to soothe her--Carolyn, please.  Do you go to the house regularly? queries Carolyn. You know I can't go there! responds Mrs. Johnson, shocked. Who's getting it ready? asks Carolyn. Ready for what? demands Mrs. Johnson.  For when they come back, explains Carolyn.For when WHO comes back? asks Mrs. J. Everyone! cries Carolyn--my mother, Quentin, Uncle Roger... Mrs. Johnson grabs her by her shoulders and reminds her, they aren't coming home. Carolyn pulls away. But they are, she says, forcing gaiety into her tone, and when they do, the house must be ready for them. Mrs. Johnson again grabs her by the elbows-- they're not ever coming back! she says. Don't say that! shrieks Carolyn.  She calms herself, sits down and glances through the album, adding, "Especially when it isn't true."  We must make plans, Carolyn insists, celebrate with perhaps a picnic at the gazebo--it will be a beautiful, warm day, and David and I will go sailing, and...  She looks at a black and white photo of Maggie and Quentin. He has his arm around her and is holding a large thermos; she is carrying a picnic basket. What are you looking at? demands Mrs. Johnson, snatching the photo from Carolyn's hand. The younger woman is blathering about going sailing. Where did you get this? demands Mrs. Johnson. Give it back! cries Carolyn. That's the first time we saw him, says Mrs. J, pointing to the photo. You don't know what you're talking about, says Carolyn. There he is, says Mrs. Johnson. That's only a shadow, says Carolyn. A shadow, yes! says Mrs. Johnson, her eyes widening--a shadow that fell over all our lives!  No! cries Carolyn, grabbing the photo from her hands and ripping it up--there was no one there, no one there--she sinks down, torn photo in her hands, and begins to sob. Mrs. Johnson pats her hair, trying to comfort her.

Carolyn ties her hair back in a braid. Mrs. Johnson asks, why won't you admit you saw him then and have seen him since?  I would love to talk with you sometime, says Carolyn, but I'm very busy right now. You won't listen, laments Mrs. Johnson, will you?  Another time perhaps, not now, says Carolyn. No, you'll never listen, says Mrs. J. There's a knock at the door. Who is it? asks Carolyn. Julia and Barnabas, says the latter--may we come in? Carolyn, angry, says no, go away!  Barnabas enters with Julia anyway--I had to see you, he says--hello, Mrs. Johnson. You don't belong here, whines Carolyn, I want you to go away! --make them go away, she begs Mrs. Johnson, who takes her into her arms as if she were a scared child and says, "Please, don't trouble her, it does no good to talk to her, I should know."  We've got to try, says Julia--someone at Collinwood just tried to kill me. There are no murderers at Collinwood, says Carolyn with dignity (!)--there are only intruders who get whatever punishment they deserve. The man was dark-haired, continues Julia, with fierce, penetrating eyes--he wore clothes from another century. No! moans Mrs. Johnson, covering her mouth with her hands. It was a ghost, says Barnabas. It was HIM! says Mrs. Johnson. Who? asks Barnabas, who? No one, says Carolyn. You must tell us who! says Barnabas. Crying, Mrs. Johnson leaves the cottage.  Julia begs her not to go, but can't stop her. Carolyn is examining some ugly paste jewelry when Barnabas comes over and gently asks, tell us who that was. If we knew what happened, says Julia, we might be able to save you, Collinwood and everyone. Carolyn begins to laugh, a deep, creepy sound. Still trying to scare me, she says--you never used to be so frivolous, Julia. I have never been more serious in my life, says Julia. Well, much as I enjoy a serious conversation, says Carolyn, I'm going to have to ask you to leave--I'm very busy right now, you do understand?  An evil spirit  has control of Collinwood, says Julia--who is he and how did it happen?  If you're nice to me, says Carolyn, I'll invite you to the picnic I'm giving. Carolyn, chides Julia.  We might as well give up, says Barnabas--Carolyn isn't going to tell us anything. All right, agrees Julia. Barnabas bids Carolyn good night--I'll see you soon, he promises.No! says Carolyn, don't come to see me, I'm far too busy to entertain--besides, you're going to leave Collinsport, aren't you--for good? They don't respond, surveying her with pitying, solemn eyes.  She spits out, "Well, you'd better!--and don't say I didn't warn you!"  She follows them to the door, screaming after them, "And don't come back here ever again!"  She slams the door after them and locks it, then smiles and puts on an earring, giggling. She goes into a trunk and takes out a pink dress. My party dress, she chortles, he always loved it when I wore my party dress. She giggles and holds it against herself, dancing alone.

Mrs. Johnson paces the dark drawing room of the Old House. She looks out the window and sees Barnabas and Julia returning. They enter the house; he begins to light candles. Mrs. Johnson comes out and asks them, did Carolyn tell you anything?  Nothing at all, he says. You must not blame her, says Mrs. Johnson, she's blocked it all out--too painful. We know that, says Barnabas, we didn't try to torment her--we simply must know what happened, who this spirit is and how it got control of Collinwood. Why? she asks, what good would it do, you can't prevent it, why add the burden of those sorrows? We were just trying to tell Carolyn that we CAN prevent it, explains Julia. Can prevent it?--you're as mad as she is! exclaims Mrs. Johnson. Look at u very carefully, urges Barnabas--you noted that we haven't changed since you saw us 25 years ago--some terrible disturbance in time brought us here.  And when we get back in 1970, says Julia, we can stop everything that's happening here. You're both trying to drive me mad, too, aren't you? insists Mrs. Johnson, walking away from them. We know it's difficult to understand, says Barn, but try to believe us enough to tell us what you know. You have lived long enough to know there are things in this world people can never understand, Julia reminds her--we ARE telling you the truth. Mrs. Johnson surveys them doubtfully, then asks would it really be the truth?--could it be that it never happened?--you don't know the way I prayed that it was a dream and I could stop it. Perhaps we can, if you tell us what you know, says Barnabas. I don't know if I'm able, she says. Try, encourages Julia.  It all began when the days were so beautiful, you couldn't help but be happy, says Mrs. J--there was a spirit of joy at Collinwood, a feeling that hadn't been there in a long time--there was so much love among all of us at that time, until...one night... (the music begins to play)--one night, the house was so still, I could hear the waves far away against the rocks, and before I left the house, I was walking down the corridor outside of...of...the room that the children called the playroom--Mrs. Johnson suddenly gasps.She looks at the window. The same snarling visage Barnabas and Julia saw gives her a warning look, then leaves. Mrs. Johnson runs to the front door and screams, "No, I won't tell! I won't tell!  She runs from the house, Barnabas begging, don't go!  Julia nervously clutches her collar around her throat. Barnabas, she says, he was here, we've got to find Mrs. Johnson, for her own sake.  They leave, too. The ghostly man watches them, eyes gleaming with evil intent.

Mrs. Johnson roams the woods, walking painfully, slowly. She stops to rest, gulping, when she feels a hand on her shoulder. She turns, sees the cruel face of the man who is haunting Collinwood.  Her mouth drops open with terror as he catches and holds her gaze.

Julia, following Barnabas through the woods, explains, I was sure the ghost was there, and that's what stopped her from saying anything more--we've got to find her. We already have, says Barnabas. Oh, no! wails Julia. Indeed, they have found Sarah Johnson, Collinwood's housekeeper, lying dead against a tree. When they hear someone approaching, Barnabas hustles Julia into hiding.  Wind ruffles Mrs. Johnson's hair as Carolyn stands before her, dressed in the "party dress" she'd held up earlier at the cottage. Mrs. Johnson? says Carolyn--you shouldn't be here at this time of night--shall I help you home?--come, take my hand...  Realizing what has happened, she says, "No, please! come, it's cold here, you can't stay here like this, let me help you--please, you've always been so good to me, don't hurt me now, take my hand, reach out and take my hand, Mrs. Johnson, please take me and hold me like you did when I was a little girl...help me! Help me!"  She can't help you now, Carolyn, says Barnabas, standing over her.You did this--I should have known! she accuses--you killed her! Carolyn! chastises Barnabas.  When the sobbing young woman runs away, Julia urges Barnabas, let her go. Barnabas kneels down to look at Mrs. Johnson, and says sadly, "Whatever story she had to tell, we will never know, Julia. We'd better go to the sheriff."  They leave.  Mrs. Johnson looks at us with empty eyes.

Julia and Barnabas return to Collinwood.  What did Mrs. Johnson mean about the children's old room? she asks. Barnabas heads upstairs, Julia behind him. Hearing footsteps, they rush into the drawing room to hide. Carolyn comes in and goes upstairs. Barnabas and Julia quietly follow.

The childlike music plays.  Carolyn enters a room in a hallways that appears to be slanted (Batman style, for those who remember.)  She closes the door behind her.  Barnabas stops at the door--Julia, he says, I don't remember ever seeing this room. They hear the music begin to play again, and Carolyn giggling inside. And more than music, says Barnabas, turning the doorknob and entering the room, where Carolyn is babbling to someone.

NOTES: There's a serious time mix-up here--Carolyn makes reference to Mrs. Johnson brushing her hair and holding her as she did when she was a little girl, but Mrs. J joined the Collins household when Carolyn was already an adult, at the behest of Burke Devlin, who wanted Bill Malloy's former housekeeper to spy on the Collins family. She became a fixture after that, but she was NOT around when Carolyn was a child. Of course, Carolyn's madness may make her think she was.

So, we know a little bit more about this mystery, but there are many unanswered questions. Who is this creepy ghost who haunts Collinwood and struck enough fear in Mrs. Johnson that his mere touch and glance scared her to death? Whose birthday was Carolyn going to celebrate, and why the need for a fancy gift?

There must have been a picnic involved here, which would explain what Quentin and Maggie were holding in the photo. There was happiness and love at Collinwood--who could believe a fairy tale like that, LOL?

Now Mrs. Johnson is dead. Barnabas and Julia have followed Carolyn to a mysterious room. What's going on in there? We don't know for sure, but perhaps the next ep will bring us another clue.

Notice how nervous and scared Julia is becoming, more so every episode.  Whatever is happening is affecting her, too, giving her the same terror and paranoia that Carolyn, Mrs. Johnson, Stokes, and the clerk were suffering from. It isn't affecting Barnabas, perhaps for all the reasons he said, but Julia is growing worse, and one senses she is falling under a spell.


1065 - Barnabas and Julia enter a playroom filled with toys and stuffed animals. Get out! Carolyn orders--how dare you come here--get out!  Julia, staring at the far wall, asks Barnabas, did you  see "them?"  I did, he replies, but I'm not sure what it was. Go away! cries Carolyn. It looked like two people, says Julia, but they disappeared so quickly!  Barnabas glances around, pointing out,  it's not in the same condition as the rest of the house, nothing has happened to it. Julia wonders about the music. "GET OUT OF THIS ROOM, BOTH OF YOU!" screams Carolyn.  Try to  understand, begs Barn--we're trying to help you. You can help me by going away! she wails. She sits down in a rocking chair and holds a pillow to her chest. We saw something when we came in, says Julia--what was it? You saw nothing, insists Carolyn, because there was nothing to see. Was it the same spirit we saw staring at us through the window earlier? asks Barnabas.  Ghosts, that's all you seem to talk about, scoffs Carolyn. Because they exist, and you know they exist, says Barnabas. When we were outside the door, we heard voices, notes Julia--who was it? I was talking to myself, says Carolyn, rocking vigorously, I often talk to myself because I'm alone so much--I don't like being alone--I ask myself how long it will be before they all come back. Before WHO comes back? asks Barnabas. Everyone, answers Carolyn--do you know where they've gone?  Barnabas looks at Julia and patiently asks Carolyn, who are you talking about?  If you do know, says Carolyn, you must tell me, you mustn't keep it a secret from me.She grows petulant, gritting her teeth, and says, it isn't fair!  Barnabas and Julia exchange sympathetic looks. Carolyn is shaking a tambourine.  Julia goes to her and says, we want to know where everyone went, too, just as much as you do--won't you help us? How did you find this room? demands Carolyn. We followed you here, says Julia. No, says Carolyn, shaking her head, someone's been giving away secrets, been telling secrets!  Listen! Barnabas begs.  You must leave! says Carolyn--go, please. She opens the door. I won't leave without you, says Barnabas. You must, insists Carolyn, if you don't, I will have the sheriff arrest you--he is my very good friend and will protect the property from TRESPASSERS!  We will go, agrees Barn, but if you change your mind, come see us at the Old House. She slams the door on them after they've gone, then listens for their retreating footsteps. I won't change my mind, says Carolyn, he wouldn't like it--would you, Tad? Tad? You can come out now, it's all right--they're gone...Tad, please come back, she sobs, you're angry --it's all their fault, it would have been a lovely party and they've spoiled it--I HATE THEM!  She sits back down on the rocker, hugs the pillow to herself and begins to angrily rock, looking like a pissed-off child.

Eliot Stokes gazes at himself in the mirror in his living room, and takes a puff of a cigarette. He's wearing a hearing aid with a wire reaching to the pocket area, which we did NOT see in 1995--they were wireless by then. He reads a letter--there has been a change in Quentin Collins' condition--"I am sorry to report that it is not a change for the better."  He answers a knock at his door--Julia and Barnabas--and he does not welcome them. We must speak with you, she says. I have nothing to tell you, you know that, he says. It's been a long time, Eliot, says Barn, I might have expected a friendlier greeting. Barnabas! says Eliot--in heavens name, Julia, why didn't you take my advice and leave?  We're not leaving until certain things are explained to us, says Barnabas--we were at Collinwood, earlier.  I must warn you, says Eliot, you must stop going there--your lives are in danger. We already know that, says Julia. Something happened to you there? asks Eliot. Yes, says Barnabas, we saw the face of a man in the living room window. An incredibly evil looking man, adds Julia. And before that, says Barn, something fell from the foyer and almost killed Julia--Eliot, who was that man?  "Many people have seen things in or near Collinwood," explains Stokes.  Julia glances at the letter he was reading, which he placed on the desk, "But that doesn't necessarily prove they exist," finishes Eliot.  We didn't imagine that man, insists Barnabas. Julia picks up the letter and reads it. Eliot, how often have you been at Collinwood? asks Barnabas--what have YOU seen there. Nothing, says Eliot, absolutely nothing--Julia, what are you doing?  He takes the letter from her hands. Julia apologizes--I couldn't help seeing it--the name Quentin Collins is in that letter, she says. Quentin? says Barnabas--then you know where he is. No, says Stokes. Yes, you do know, Barnabas says, let me see the letter. Stokes hands it over. Barnabas and Julia read it--he's in a mental institution, notes Barnabas. The astounding thing is, says Stokes, he looks exactly the same as he did when he was committed in 1970--he hasn't aged--it's as if he were frozen in time. Barnabas hands the letter back to Stokes--we must go see him, he says. You won't find him there, says Stokes, I received word yesterday afternoon that he's escaped--and even if you could see him, he wouldn't be able to help you.  That seems to be the case with everyone, says Barn--why?--why is everyone afraid to speak?--how could you possibly stand by, do nothing, say nothing--you've got to tell us what you know, Eliot. Stokes walks away from them, then turns back and says, as God is my witness, I know very little more about this. He sits down in a sofa. How is that possible --weren't you here when it happened? asks Julia, sitting beside him. No, he explains, I wasn't, and I always regretted it--in the fall of 1970, I went to Europe, when I returned, I found Collinwood just as you two have--I asked questions everywhere with as little success as you've had. I don't understand this, says Barn. If you feel frustrated after just a few days, you can imagine how I feel after 25, says Eliot.I don't understand why you didn't tell me this after we ran into each other the other day, says Julia. I was terrified for your safety, he answers--shortly after I returned home, I heard rumors of strange happenings at Collinwood--I thought if I could undo what had been done, I might at least restore poor Carolyn's mind--I tried an exorcism and very nearly paid for it with my life. How? asks Barnabas. I saw the ghost, says Stokes, but that wasn't what terrified me so--it was the overwhelming sense of evil that surrounded me--it seemed to be smothering me to death--I turned and ran (Julia is listening carefully, in agreement with his feelings) I never saw the ghost again after that. And you never found out what happened to the rest of the family? asks Barnabas. No one has, says Stokes, they vanished--for all we know, they may all been buried somewhere in the house--the night it happened, Quentin Collins was found wandering in the woods, totally incoherent; Carolyn was found cowering in the tower room--they had both gone mad--I've always suspected that Carolyn was the only person who knows what really happened, but the secret is buried, perhaps forever, in the darkest corner of her mind. Barnabas and Julia look at each other.  Eliot, there are certain things we must find out, says Barnabas--and you're going to help us. I don't know how, says Eliot, but I am willing to try. We'll be in touch soon, promises Barnabas. They exchange smiles of goodbye and leave. Eliot picks up the letter. After they have gone, Carolyn enters and accuses him of telling them about the room. No, I didn't, my dear, he says. I don't believe you, she says.  You must, says Eliot--and do something else for me as well--sit down and let me talk to you.

Barnabas and Julia return to the playroom. What will we do if Carolyn is still here? asks Julia.  I doubt she will stay here this long, opines Barn. They enter the room.  What do you think you'll find? she asks. I have no idea, he admits, but this room is obviously important--why is it not in the same condition as the rest of the place?--any clue could be helpful. They look around. Julia finds a homemade birthday card and shows it to Barnabas. It's brand-new, she observes. Happy birthday to my dearest Tad, reads Barnabas, from your loving Carrie. Who in the world could Tad and Carrie be? wonders Barnabas.

Old House - Which way now? asks Barnabas. I don't know, she says, but I question whether or not Stokes was telling us the truth. About how much he knows?--yes, agrees Barnabas, he was frightened and confused, but he wasn't lying to us--if we could only find Quentin. If Quentin's been in a mental institution, he can't help us, says Julia (she has so little faith in her own profession)? I would still like to question him, says Barnabas--poor Stokes--he's so baffled by the fact that Quentin is as young as he was in those years--obviously, Quentin's portrait is still intact, if anything had happened to it, he would have grown old by now. They hear banging upstairs. We do have a visitor, says Barnabas, and he heads upstairs.

Carolyn sadly tells Stokes, there won't be another birthday party for a whole year--will it be that long before I see Tad again?  Stokes comfortingly pats her shoulder--I don't know, he says, but it really isn't very important, is it? Yes it is, she insists, very important!  Please, he begs, search your mind again, try to remember what happened that night in 1970. It isn't good to dwell on the past, she says, examining his things, picking them up, putting them down. We've been good friends for a long time, he reminds her, always confided in each other? That may no longer be possible, she says. What do you mean? he asks. You have new friends now, haven't you? she asks, beginning to hungrily eat from a dish of grapes. They're your friends, too, he says--Julia and Barnabas are trying to help. They spoiled my party, she says angrily--they should never have come into the room--why did you tell them about it?  She stuffs more grapes in her mouth. Stokes, defeated, walks away.

Barnabas and Julia enter a room containing a painting. Barnabas draws away the covering to reveal the very desiccated, hideous visage of Quentin Collins. Quentin himself, bearing a knife, leaps to attack his portrait. "QUENTIN! cries Barnabas.  Julia and Barnabas struggle to force him to drop the knife. "Let me kill him!" demands Quentin. Finally, Barnabas succeeds in forcing him to let go of the deadly weapon.He deserves to die! yells Quentin. You're talking about yourself! says Barnabas. You had no right to stop me! says Quentin--who are you, anyway? Look at us, says Barnabas, don't you recognize us? No, says Quentin, you can't be who you look like--they went away a long time ago. Julia nods. But we are, he says--I'm Barnabas and this is Julia.  No, says Quentin, beginning to laugh insanely, it's one of his tricks--yes, the attendants is always playing tricks on me. Let's get him downstairs, says Julia. She links her arm in Quentin's; she and Barnabas escort him downstairs.

Stokes' house - He hands the giggling Carolyn a bunch of grapes and reminds her, you often said everyone would come back to Collinwood one day--do you really believe that? Yes, she says, shoveling grapes rapidly into her mouth, they will all come back. Does that mean you know where   they went? he asks. Yes, she says. Can you tell me? he asks. She looks up at him--they never said goodbye, she says--I always thought that very strange. Did it ever occur to you, he says, that their coming back depends upon you--you never were able to remember what happened on that night in 1970--perhaps if you could remember, it would be possible for things to change--Collinwood could be as it was. Do you really think so? she asks. Yes I do, he says, please, try to remember something--anything.She thinks, closing her eyes--it's so strange, she says--there are times when I think I remember, times when I dream and seem to relive it all, times when certain things jar my mind--I saw a stillness in the night, a child's toy--she smiles--but I can never put all the fragments together--I just can't do it, she sobs. He puts his hands on her shoulders--I'll take you home, he says soothingly.

Old House - Quentin clutches one hand in the other, sounding like a lost little boy as he tells Julia and Barnabas, I still don't understand how you got here--why do you look the same?  But you do accept we are here, and who we are, says Barnabas. Oh yes, says Quentin, I accept anything and everything--except...my own innocence--I will never accept that.  What do you mean? asks Barnabas. I came here to do something, says Quentin, yes, and I failed--I failed again, I've got to go now. You must stay here now and help us, insists Barnabas, touching his cousin's elbow. Help you? asks Quentin. Something happened here at Collinwood 25 years ago, says Barnabas, do you remember what it is? I don't want to talk about that, says Quentin rapidly, I think about that too much, I don't want to talk about that!  Do you remember what happened? asks Barnabas. NO! says Quentin. Are you sure? asks Barnabas--anything, any clue would help us. Quentin grasps the railing--I should have prevented it, he says, but I didn't and I deserve to die. Quentin, says Barnabas, what were you doing in the woods that night? Quentin looks at him. I don't know, he says. Then you never actually saw what happened? asks Barnabas. I should have prevented it, repeats Quentin. But you couldn't have if you weren't even there, says Barn--what do you know about the playroom that exists at Collinwood? Nothing, says Quentin. How did it get there? demands Barnabas. I don't know what you're talking about, says Quentin. You know very well that there was no such thing there in 1970! says Barnabas. Quentin looks at him--oh yes, he says, there always was, always!  Would you be willing to take us there now? asks Barnabas. Noooo! says Quentin. Why, are you frightened of it? asks Barn. Why should I be frightened? asks Quentin. Then let us take you there, says Barn. No, no, it won't do any good, says Quentin.  Why? asks Barnabas. Julia steps in--it might not be wise to take him there, she advises. I'm telling you, it won't be any help! says Quentin defensively--listen, now, all right, if going there will help prove it to you, then I'll go. He opens the door and the other two follow him out.

7:55 - The threesome walks down the hallway to the playroom. Julia notes, we are hearing the same music we heard the other night. Yes, agrees Barnabas, before we saw that figure in the window. Quentin backs away from the door--I don't want to go in there, he insists. Are you frightened? asks Barn. No, says Quentin. Then we must go in there, says Barn--Quentin, we MUST go it!  The music stops as Quentin opens the door. He looks in. NO! he screams, and runs off--NO!  Barnabas looks in and sees a young boy dressed in a suit and tie. David! he cries. The child gazes back at him.

NOTES: Quentin returns, but unfortunately, not anymore in his right mind that Carolyn is. He was all set to kill himself by destroying his portrait, out of some sense of guilt. What did he do, nor not do, that unhinged his mind this way?

Barnabas, Julia and Stokes, the titanic threesome, try to whittle away at the minds of Quentin and Carolyn, without much success. There was something so eerie about the scene in which Eliot is trying to pry open Carolyn's mind while she shoves grapes into her mouth. She tells him it's not good to dwell in the past, but apparently, she is incapable of doing so. Her mind won't allow it. She is mostly concerned about Tad, whoever he is, and his birthday party. Who is he to Carolyn?

Now David has appeared to them, or at least his ghost. Will he give them some insight into what happened 25 years ago?

Excellent performances again by Barrett, Selby and Thayer David. Frid and Hall are in every episode and must have been absolutely exhausted by the time 1995 was over. Their frustration is palpable. Note how susceptible Julia seems to be to the evil influences around them.

Love, Robin

1060 - Maggie struggles against Stokes.  There's no use resisting, he says, you shouldn't scream, or you'll be very sorry. She frees herself from his grasp. Where is you husband? he asks. Why do you want to know? she asks.  Just answer the question, he orders--you'll find I'm easily provoked.  He's with the police, she reveals. And where is poor Angelique? he asks. She's dead, you know that, says Maggie. She's dead, but is she gone? he asks--has he had her body cremated yet? I don't know, please just let me go, begs Maggie. Stokes mutters, I never loved   her, never understood her or appreciated her, if I had, she wouldn't have died. He begins to cry, grabs Maggie's arm, and says, in some strange way, his failure was even greater than mine--his was negative, brought about by his indifference and stupidity, which he will pay for me.  And he drags her away--come with me! he commands..

Loomis House - Barnabas paces, then stands over and down at the sleeping Roxanne. She dreams: She sees a lamp, Barnabas standing there, promising "my darling, "--very soon we will be in another time, a time you never knew exited, that belongs to us--I will take you there. But I did know that time existed, she says, I didn't know how, just as I knew you existed, even though I'd never seen you, heard your name, oh I knew we'd meet someday...  He disappears.  Where did you go? she asks--don't leave me!  She runs upstairs, calling to him over and over. She reaches Angelique's room and throws open the doors; Barnabas is in there, trapped in a wall of flames, trying to reach her. She screams.Barnabas holds out his arms, but can't get to her. Roxanne awakens to Barnabas asking, what's the matter?  She stands and runs into his arms, crying, you're here--I'm glad you're all right. She describes her nightmare about him being trapped in a burning room--I thought I'd lost you. That will never happen, he promises--you will never lose me. They hug.

Stokes ties Maggie, who calls him insane, to a chair in Collinwood's drawing room, chortling, I wish Angelique could see you now--but her spirit will rejoice tonight. What will you do to me? she asks.  There comes a time to pay the piper, says Stokes, and your husband will pay tonight with his life. He laughs at her misery-filled face.

Loomis House - Barnabas gazes out the window, then asks Roxanne, what are you thinking about?  That dream I had, she says. You can't dwell on it, he insists.  i can't help it, she says, you told me about that other time, said you were going to take me to it. I am, very soon, he promises, smiling. Tell me about the other time, she asks, what is it like?--who will I meet there? It doesn't appear different from this time, he explains, but it is--the people that exist in this time have counterparts in the other time--they look the same, but their personalities are different, their destinies are different--for example, Timothy Stokes is a college professor in that time, kind and gentle man. It's all so hard to understand, she says, it sounds too good to be true. It is true, he says, you'll be much happier in that time, I assure you. He hugs her--it's been over an hour since Julia called, he says--Maggie should be here by now--I'm going to check it out, and will return very soon. He leaves.

2:40 - Roxanne sits in a chair, awaiting Barnabas' return. Julia and Quentin enter.  Julia introduces him to Roxanne. Where are Maggie and Barnabas? asks Julia.  Maggie never came back after you called, reveals Roxanne. This greatly concerns Quentin. Barnabas got worried about her and went to look for her. Something must have happened to her, says Quentin. Would she have any reason to go to Collinwood? asks Julia. No, says Quentin, she was going to come directly here. The phone rings. Quentin answers. It's Stokes, who says, I didn't expect you to answer. What do you want? asks Quentin.  I'm calling to extend an invitation to you, says Stokes. How did you know I was here? asks Quentin. Your wife was on her way to Loomis House, says Stokes--I assumed it would be just a matter of time before you joined her there--but of course, she didn't get there, did she?  Do you know where Maggie is? asks Quentin. She's with me, says Stokes. Where are you? asks Quentin. I've done nothing to her and will do nothing more to her, says Stokes, until you get here. Stokes, where are you?  Quentin demands.  I have her at Collinwood, says Stokes--listen carefully--come here alone and unarmed, is that clear?  Yes, quite clear, says Quentin, and hangs up, frightened. Stokes brandishes a gun, grinning with pleasure.

Loomis House - Quentin, wait for Barnabas to return and take him along, urges Julia. Stokes said to come alone, says Quentin, and unarmed. That's insane, says Julia. If I don't do as he wants, he may kill Maggie, says Quentin. If you do what he wants, he may kill both of you, counters Julia. I've got to go, says Quentin--I have no other choice. He leaves. How long ago did Barnabas leave to look for Maggie? Julia asks. About half an hour before you got here, replies Rox. We'd better hurry before we're too late, says Julia.  The two women hurriedly exit the house.

Maggie, terrified, watches Stokes pet his gun. "You're going to kill him, aren't you?" she asks. Let's just say that once this evening is over, all our little scores will be settled, promises Stokes. Quentin, don't come in! screams Maggie--he's got a gun!  Quentin, true to form, bursts in anyway, running to Maggie's side--are you all right? he asks. I am, she assures him.  Whatever our differences, Stokes, it's between the two of us, says Quentin--let Maggie go, I'll stay.  Quentin, objects Maggie. You'll both stay, says Stokes--has Angelique's body been cremated yet? Yes, says Quentin. You must feel very satisfied, says Stokes. I don't feel anything, says Quentin, I'm just glad it's over. It's not over yet, says Stokes, I intend to finish what Angelique started--I restored her to life, she was determined to resume her rightful place as mistress of Collinwood--unfortunately, now it's not possible for her to be with you--but it's quite possible for you to be with her. Quentin, he's going to kill you, says Maggie in a hushed voice. Don't be a fool, says Quentin---you'll never get away with it. I'm not trying to get away with anything, says Stokes, I have nothing to lose, and very little to gain except the satisfaction of seeing you dead--in life, they say a man's is judged by his achievements--my crowning achievement  was the restoration of Angelique, and you destroyed it!  He closes the doors and holds the gun on Quentin--I live now, Quentin, only to see you die, says Stokes.

Stokes stands very close to Quentin, pointing the gun at his face. The doors abruptly blow open, distracting Stokes.  Maggie screams.  Quentin karate chops the gun from Stokes' hand. Barnabas comes out from behind the drapes, announcing, "There has been enough killing, Stokes." Holding his hurt wrist, Stokes backs away from Barnabas--"Don't come near me," he says, "I know what you are, I know about you, stay away from me."  Roxanne enters the room.  Stokes grabs the opportunity and takes her by the throat, threatening, in one twist, I can break your neck, so stay where you are. Stokes drags Roxanne away with him and locks Quentin, Maggie and Barnabas in the drawing room. We must get out of here and catch him, says Barnabas--Quentin, take care of Maggie. Quentin unties Maggie. The front door is wide open, and Quentin announces, Stokes must have taken her out of the house. That's what he wants is to believe, says Barnabas--I'm going upstairs. Maggie insists they search outside.  Quentin volunteers to take Maggie to the Loomis House to stay with Julia (notice how he's suddenly not calling her Hoffman?) Take the pistol, you may need it, orders Barnabas.  Quentin and Maggie leave.

Stokes exits the kitchen area, holding a can of kerosene in one hand, covering Roxanne's mouth with the other.

Woods - Julia, now dressed in that hideous tweed suite, meets Barnabas in the woods and smiles at the sight of him. Have you seen Quentin and Maggie?--they're at Loomis House, they told me Stokes has Roxanne. Yes, says Barn, you saw no sign of him?  No, she replies. He must be out here somewhere, says Barn, perhaps we'd better go to the main house and search there. Do you think he'd keep her there? asks Julia. He's out of his mind, says Barn, capable of anything. They head off together.

Roxanne, furious, asks Stokes, why are we waiting here? They'll all be coming back soon, he assures her, my dear Roxanne, and when they do, I'm planning a little surprise for them. What are you going to do? she asks.  I want you to be surprised, too, he replies. Hearing the front door open, he clasps his hand over her mouth, stopping her scream--you see, he whispers, I was right, they're here!  Julia, we'll begin with the West Wing, says Barnabas, and they head upstairs. Barnabas Collins and Dr. Hoffman, says Stokes, we needn't wait for Quentin--destroying them will be revenge enough. He takes the can of kerosene in his other hand and begins to spill the flammable fluid on the floor. I've lost everything, he says, now Quentin will lose everything, too-- his beloved Collinwood reduced to ashes!  Barnabas and Julia will be trapped upstairs, Roxanne reminds him.  Precisely, says Stokes, and burnt to a cinder! He finishes pouring the kerosene and takes out a pack of matches. Needing two hands to light the match, he is forced to let Roxanne out of his grasp, and she flees. "Very well, go!" he cries, lighting the match, tossing it down on the floor. Flames and smoke begin to fill the room.Stokes goes into the foyer and yells up to Roxanne, who is running across the landing, "None of you will leave this house alive!" He pours more kerosene on the floor, trailing it around the table. The flames sound hungry as they devour the house.  Stokes lights a second match, tosses it onto the foyer floor, then bursts into insane laughter.

Angelique's room - If I could find them, says Barnabas, I would deal with Stokes and bring you and Roxanne back here and wait for the room to change. I smell smoke, says Julia. Barnabas  looks out the doors--the place is on fire!  Stokes must have started it, says Julia. And Roxanne is with him! Barnabas cries. Julia points to the flames--"Look!" she yells.  They realize they are trapped in the room. How will we get out of here? frets Julia.  (can't Barnabas just turn himself into a bat or disappear and appear elsewhere)?  I don't know, says Barnabas.  He hears Roxanne calling his name and calls back to her, shouting, give me your hand!  "Julia, I can't reach her!" he cries, frantically clawing at the air--"ROXANNE!"  "BARNABAS!" Roxanne wails back. "ROXANNE!" he screeches again, probably breaking his vocal cords. Barnabas! Julia calls.The room abruptly changes around them. "No!" moans Barnabas--"We've come back, and Roxanne is still in her time-oh, Roxanne, Roxanne..."

NOTES: Oh, boy, that was a lot of violence for one episode of DS, and I must say, they gave a great impression of a big fire without having much of the real thing, if any.

So, Barnabas has been separated from his dear Roxanne, returned to his own time, safely away from the flames. I still say Barnabas could have morphed into a room where there were no flames, saved Roxanne, but perhaps he didn't want to leave Julia alone. It was a huge error on the part of the DS writers and directors not to remember that Barnabas COULD have escaped the fire and probably saved both lady love Roxanne, and Julia.

Amazing performance by Thayer David as Stokes, who will probably be burned to death in his own conflagration. His insanity, crafty and loony, was cool to watch. His attempt to hold Roxanne while lighting a match gave me a chuckle.

I guess we assume Maggie and Quentin lived happily ever after with the few family members who are left. One last scene between them would have been nice, but we can imagine it.

Well, where do Julia and Barnabas go from here? Stay tuned, folks!


1061 - We see an unfamiliar photo of Collinwood and hear a voice we haven't heard in a long time-Mrs. Johnson-who tells us, Timothy Stokes has died in the flames of the fire he set in 1970PT.

Standing in the bleak darkness of what was once Angelique's room, now back in RT, Barnabas despairingly tells Julia, I've got to return to parallel time and find out what happened to Roxanne. You can't go back, says Julia--Angelique's room doesn't exist in parallel time anymore, it's been burned, destroyed.  Barnabas, bereft, realizes, I will never be able to go back. Fumbling with a button on her jacket, speaking in girlish tones, she assures him, if there were anything I could do, I would, but I'm just as helpless as you are. I've got to see her again, moans Barnabas, she's the only woman who ever made me forget my dear lost Josette. (Ouch, Barn, why not just stick a knife in Julia's heart right now and give it a twist or two?) The moment I saw her, so still and helpless, says Barnabas, I felt a love I hadn't felt since I first met Josette--I thought there was hope I could be cured and happy, live the life I wanted to live for so long--the life of love, tenderness...with her. (I felt so badly for him during this speech.)  Oh, Barnabas, says Julia, her green eyes filled with her own helpless, unrequited love for him. He sighs--it's been snatched away from me again--why is fate so determined to offer me a chance for happiness, then destroy it right before my eyes? You forget, she says, how rare a life of love can be--you're not the only one who's had so little hope--it's something one learns to live with--we can get used to anything if we have to.He looks into her eyes, finally, seeing something he can't or won't acknowledge, and walks away. As long as I exist, he says viciously, I'll despise this room for what it has done to me. It seems so different, remarks Julia. Yes, agrees Barnabas, what is it?--so damp-the smell of decay. They wander around the room.  Something has happened, says Julia. Barnabas, gazing into the hallway, calls, Julia, come here!  They look outside Angelique's room, where beams and walls have come down, trees have, impossibly, invaded the corridor--the house appears to have been completely destroyed!

We see an electric candlestick, one bulb gone, lying amidst rubble in Collinwood's foyer. The grandfather clock is missing its top, completely gutted. Beams lie everywhere, debris covers everything. Julia, carrying a candelabra, walks carefully downstairs.  She and Barnabas surveying the wreckage with horror. What could have happened? she wonders--where is everyone?--the place is deserted! No lights...Elizabeth? she calls in a child's voice...Carolyn?...is anyone here? Glass and plaster crunch under their feet. No, responds Barnabas. Where has everyone gone? asks Julia. I don't know, he replies. The wind in the corridor, says Barnabas. A war or hurricane? speculates Julia. She finds an unbroken crystal glass and, shivering, says, "It's as if it was left half-empty."  Barnabas enters the drawing room, where more beams have come down, leaving it almost unrecognizable--there was no war or hurricane here, he says--it's as if the house was simply abandoned.  Barnabas, in one month? she asks, astounded. The house is as still, quiet as the grave, he says--do you suppose that everyone we knew, all our friends--Maggie, Elizabeth, David--are dead? Julia horrified, says, I don't know. They continue to wander around.  She finds and picks up some papers on the desk she'd left there the night she went to parallel time--look how they crumble at my touch! Perhaps, suggests Barn, radiation has sped up the process of deterioration.  (Barn knows about radiation)? She gazes at the pieces in her hand--it could be, she says. What could have happened? he wonders. She finds another piece of paper that says, "We must leave Collinwood before the day is out--we must." It's a note in Liz's handwriting, unfinished, says Julia. Then they did leave for a reason, says Barn, walking amongst the rubble--but what is it? On the floor, he finds Liz' diary, which has been burned. I wonder why anyone would burn it? asks Julia.  It's as though they wanted everyone to forget they ever existed, says Barn. Hearing a door opening and closing, they go to see who came in. The door bangs in the wind, but no one is there. Just the wind, says Barnabas. I'm not so sure, she says. Barnabas opens the door and looks out, noting, the trees have grown right up to the door. In just one month? she asks, disbelieving.  Perhaps there was some disturbance warp in time, suggests Barnabas, and we've come back to another time--our own, but at some time in the future. I don't know, she says. That jungle out there, says Barnabas, it would have grown, but at a slower pace--it wouldn't have grown like this in a month or two! I'm frightened, says Julia, I feel like a child who's lost and will never find my way home. He gazes at her, concerned. She holds her collar tightly around her throat, berating herself for being silly--we've got to find out what all this means.  Perhaps there will be some clue at the Old House or in the cemetery, Barnabas suggests. Do you think everybody is dead? asks Julia. Not necessarily, he responds, but I must find my coffin before sunrise--time, past or future, our time, parallel time--the curse is still with me, he says dejectedly (another super-depressing moment for us, too). We'll go there now, she agrees--more than any cemetery I've ever been in, this house is like a grave.They leave. We get one last glimpse of the tree-choked house, the door off its hinges, the woodwork fallen over the fireplace, beams lying haphazardly, debris littering the floor--very creepy images, the kind that stay with you for years, as they have stayed with me. More than anything else that happened on DARK SHADOWS, these images of a Collinwood destroyed, marvels by Sy Thomashoff, have never left my consciousness.

Barnabas and Julia walk through the cemetery. I wonder what happened to the coffin in the basement at the Old House? she muses. With all the decay there, it's not surprising it's missing, he says. Julia finds a new grave, freshly dug. Read what it says there, says Barn.  She does, aloud--Henry Beecham, 1967-1995 (remember, folks, this is 1971). This grave was just dug, says Barnabas. 1995! repeats Julia.  Then there WAS some disturbance in the time warp, says Barnabas--25 years have passed!--no, I don't believe it! he cries--this grave here is not new, it's old, read it!  David Collins, reads, Julia, born 1956, died 1970. David died 1970, repeats Julia, sounding as if she's going to cry. Barnabas picks up a bouquet of fresh flowers from the grave. Put them down, leave them alone, demands a woman's voice.  An elderly, white-haired Mrs. Johnson stands there, demanding, what are you doing here, disturbing the peace of this poor child?   Mrs. Johnson! says an amazed Julia. Wasn't his life a torment enough? demands Mrs. Johnson, reaching to grab the flowers away from Barnabas, without your coming from the grave itself to disturb his rest?  Don't you recognize us? asks Julia. I've always tried not to believe in ghosts, says Mrs. J nervously, but now.... We're not ghosts, says Julia, we're alive! You disappeared 25 years ago, says Mrs. Johnson, and you look the same as you did then--how can you tell me you're still alive? It's too difficult to explain, says Barnabas. No, it's too easy! she cries, you disappeared and died, and now you've come back to disturb his rest. We haven't, Julia assures her.  Mrs. Johnson gently places the flowers back on the grave, railing, I won't let you--I was with him at the end, and if ever a child deserves peace, it was David--she begins to cry--I won't let them trouble you, she sobs, I couldn't save you at the end, no one could, but maybe I could help you! Barnabas asks, "Save them--what are you talking about?"  Suddenly coming back to herself, looking crazed, scared, Mrs. Johnson, says, I beg your pardon--Barnabas asks if David died. Now evasive, Mrs. Johnson says yes, he just died, that's all.  We've been to Collinwood and know something terrible happened, says Julia--tell us what it was. Did it have anything to do with David's death? asks Barn. I don't know what you're talking about, she replies, frightened.  You do, says Barnabas, tell us what happened. Nothing, she says, shaking. That's not true and you know it, says Julia. Please don't hurt me, begs Mrs. Johnson, I never hurt anybody, you know, I only tried to help. We're not going to harm you, Barnabas assures her, but you must tell us what you know happened at Collinwood and to David. Please, I can't talk about it, she says. Julia comfortingly holds the elderly woman's arms and reminds her, you were our friend, you know how we loved everyone at Collinwood, and now they're gone. Gone, yes, all gone, agrees Mrs. Johnson sorrowfully. Where and why? asks Julia. You must not ask and I must not tell (is this the military?), says Mrs. Johnson. Why not? asks Julia. Because it was too horrible, says Mrs. Johnson--why do you think I come here at night to put flowers on his grave, why can't I come in the day and see the sun and the grass and the flowers around where he is buried?--because no one is supposed to have anything to do with anyone named Collins--you're not even supposed to mention the name!  Answer the question, says Barnabas--what has happened? --is there anyone in the family still alive? Tears running down her withered cheeks, Mrs. Johnson repeats, with a sad smile, "Still alive-the Collins family...the Collins family...alive..."She bursts into tears as Julia and Barnabas exchange looks of fear, sympathy and concern.

They're all alive and quite well, reveals Mrs. Johnson, who has calmed down now. They are! says Julia excitedly. Where are they? asks Barnabas. Obviously making it up, Mrs. Johnson explains, Mrs. Stoddard is in Europe, she went to Rome and Mr. Roger's with her there, yes, they're quite well, and she writes to me, and from time to time, Mr. Quentin--he went to South America he got married and he's happy, he's fine..."  Are you telling us the truth? asks Barnabas. Yes, the gospel truth, every bit, she says.  It's hard to believe that people who have gone through this change can leave some unspeakable tragedy and be off as happy as you described, he points out.  Well, maybe I exaggerated a little bit, she admits, but...  Julia gently asks, tell us.  PLEASE DON:T TORMENT ME! begs Mrs. Johnson, I've tried to forget, 25 years I tried to forget, I don't know whether you are real or not, whether I'm imagining or dreaming, but leave me alone, leave me be, I've suffered enough, I'm old and tired, I can't tell you anything.  All right, agrees Barnabas, but isn't there someone who can tell us something? No, no one, says Mrs. Johnson. Let her go, Julia urges Barnabas.  He reluctantly agrees.  Mrs. Johnson starts to leave, then says, in a hushed voice, her lips trembling, "Frederick's, at Findley's Cove, the old shack at Findley's cove. She repeats it again.  Julia repeats it to Barnabas. We get a close-up of David's gravestone with the flowers piled at the base.

We see a lighted green candle, the remains of an unfinished meal on a table--plate, cup, silverware. The camera pans on what looks like an antique store, filled with items from Collinwood and the Old House.  Barnabas and Julia knock at the door of this home; when no one answers, they enter. The place was always empty, deserted, no one lived here, notes Julia. In parallel time, Roxanne lived here, says Barnabas--is she still there, is she all right?  Julia gazes at him, fear on her face. Barnabas apologizes--I couldn't help thinking about her.  She doesn't respond, just gives him a look. Everything here is from Collinwood, says Julia, who finds his portrait--whoever lives here knew Collinwood.Yes, he agrees, but how did they know it?  What are you saying? she asks. Perhaps these are the spoils of disaster, he says, perhaps the person who lived here is the one who caused it. We should know in a minute, she says--Barnabas, look, she says--the doorknob is turning.

NOTES: I remember being totally amazed at what Sy Thomashoff had wrought in this episode, it was so creepy to see Collinwood in ruins like that, and so realistically, too! Barnabas and Julia's tentative, terrified search of the house was very suspenseful as you wondered who--or what--would leap out at them. The idea of the forest encroaching on the front door gave me shivers.

We haven't seen Mrs. Johnson in a very long time, and Clarice Blackburn didn't appear in the 1970PT flashback at all, so to have her pop up again was like seeing an old friend, and very welcome. Her performance was sublime, her sorrow and madness mesmerizing. When she began to lie to Julia and Barnabas about what happened to the Collinses, you knew she was lying, trying to make it sound great to not only them, but herself, like a fairy tale she made up so she could deal with it without losing her mind completely.

And now, they find this cottage at Findley's Cove, filled with paintings and other artifacts from Collinwood, and they don't know who is living there--is it friend or foe, a Collins or someone who stole all these valuables from the house before tragedy struck?

This is a breath of fresh air after 1791, I thought so then and think so now. I feel awful for Julia, with Barnabas referencing Roxanne over and over, but it seems to be her unfortunate position in his life to clean up his emotions after he loses yet another SYT. I wouldn't have stuck around if I were Julia, but she's apparently a one-man woman.

Love, Robin

The CD of Robservations is, at long last, complete!

After years of synopsizing my favorite show, I proudly present Robservations on CD for those interested in purchasing it.

All 1,245 episodes are included, along with my commentary, musings, asides, jokes and inside information. Sometimes what I have to say is definitely irreverent, but always with respect, because DARK SHADOWS has  meant a great deal to me for nearly 40 years and this is a labor of love which actually began in 1967, when I started writing much shorter synopses for my own enjoyment.

It's in text format and should work on any CD-rom.

The CD's cost will be $20.00, postpaid. If you prefer to purchase Robservations from me at the fest, I will be selling them there, but if you're not going to the fest or prefer to have it sooner, please contact me at:

ROBINV@OPTONLINE.NET

I hope you will enjoy this collection as much as I've enjoyed putting it together!

Love, Robin

1054 - Down in the drawing room, Roger thinks to himself, I must find a way to dispose of Liz' body. Angelique spots him going upstairs and notes, I frightened you. I thought you were upstairs, he says.  We should all be asleep by now, she agrees.  (since when?)  I was going to my room when Barnabas interrupted me, explains Roger--Barnabas was looking for Hoffman--have you seen her? No, says Angelique, with a small smile, not for a very long time. He said you'd gone upstairs with her, says Roger. Yes, says Ang, I don't think she was feeling very well--her nerves...but then we're all nervous in this house--with reason, she adds nastily.

Angelique's room - Roger opens the door and closes it behind him, then locks it. He goes to the window seat and suddenly backs away, conscience-stricken--how could I? he asks himself, then assures himself, I had to kill her, I had to, "My sister..." he laments. She would have called the police, he says, someone else will, is this never going to end? I know--Quentin! He killed her. They could be made to think that! Yes, they must be made to think that. And he goes over to the window seat to retrieve and dispose of his dead sister.

Later, Angelique also locks the door to her former room behind her. Quentin, hiding behind the drapes, comes out. You shouldn't have come here in the daytime, she hisses. (WHY did he have to go on the lam in that dreadful jacket??)  Go back to the cave! advises Ang. I overheard the servants talking, says Quentin--why didn't you tell me Carolyn was murdered?  Angelique doesn't respond. You think I killed her, don't you? Quentin asks. No, she says. Maggie did it, he insists--don't be afraid to tell me the truth--I'm strong enough to take the truth--Maggie killed Carolyn, isn't that right?  I don't know, says Angelique.  Don't you really know who did it? he asks. I don't know, she insists, and I can't really say unless I'm sure. I don't know what I'll do, says Quentin. He sits on the window seat, then chuckles ruefully over having said how strong he is--I have no idea how to stop what's going on around here. Angelique puts her hand on his shoulder-- maybe you can stop it, she suggests.  You should get Maggie out of this house before anyone else dies, urges Quentin. Do you still love her? asks Ang.  She's a witch, he says. Quentin! she cries.  She is, he says, closing his eyes with misery, that's what you told me and I know it. She sits beside him--do you really know it?--soon everything will be different, she promises, our lives will be free of all this. He hugs her tightly.

Julia's candle has melted down to its final half inch. She lies on a filthy cot in the corner (this looks just like Maggie's old cell at the Old House in RT). She uses the candle stub to light the other candle, then begins to bang on the door, crying for help, begging someone, hear me!

Angelique's room - Roger enters, no longer wearing his natty three-piece gray suit, but more casual clothing. I must look carefully, he tells himself, make sure I left no evidence behind.  Angelique joins him--what are you looking for? she asks. Nothing, he says.  Aren't you afraid to be in here? she asks--the room keeps changing, you know that. Yes, I am rather afraid, he says, but perhaps I want to be in the room when it changes, go into that other time. Would you like that? she asks, surprised. Yes, he says, if it should change now, you and I would be together there, we could start over, yes, all over, you and I together--none of this would have happened, none of it. He grabs her, gives her a little shake.  Angelique's music is playing in the background. What's wrong? she asks, I don't know anything about it--tell me! she begs. Maggie comes screaming into the room to report, Elizabeth is dead, in the tower room. Oh my God! cries Roger, and races out. Maggie cries hysterically; Angelique comforts her. Oh, Quentin, why? sobs Maggie--Elizabeth was strangled, just like Bruno. This information puzzles Angelique.

3:15 - Roger is on the phone in the foyer, telling someone, the police have just left, and yes, it's been an incredible shock to all of us...you understand, I can't talk anymore...you've been very kind, thank you. Roger enters the drawing room and explains to Maggie, it was the village newspaper--someone has to talk to him. She nods, sadly, and says, we've had our difficulties adjusting to each other.  I resented you, yes, he admits. I want you to know I understand the pain you're in, she says. Do you? he asks. She bursts into tears. Quentin, how could you? she asks, you loved Elizabeth. Quentin Collins is insane, pronounces Roger (pot calling kettle black). Maggie agrees--he must be. Calculatedly, Roger says, I can't stop thinking about it--how long has Quentin been that way?--why didn't we see it before?--after Angelique was murdered, if only we had known, all those other deaths would have been avoided--oh, I'm to blame, too, every member of the family was aware of his vicious temper, but it seemed merely that--temper--we were very wrong in our judgment. Maggie begins to cry, hard.  Roger looks down at her, knowing he's done his job well.

Angelique notifies Quentin that Elizabeth was strangled, just as Bruno was. What about the doll, did you go to Maggie's room? he asks. I haven't had a chance, she explains--the police were here. They searched the house? he asks. Yes, she says. For me, they must have done that, he says ruefully. I was so frightened, she says, I was afraid you hadn't taken my advice and stayed here instead of returning to the cave. Elizabeth, poor Elizabeth, he mourns--she was Maggie's one friend; when Maggie was in New York, Elizabeth wanted me to send for her--she even went there to see Maggie--this is her reward!  Quentin...she begins.  I know what you're going to say says Quentin--stop tormenting myself, is that it?  No, you must go back to the cave, she urges. Will that stop me from what I'm thinking? he asks. No, she says, the police have been here, I should never have sent my father for you. Yes, he says, go back to the cave, Quentin, sit there and think, the same thoughts keep running through my mind--how was I ever fooled by Maggie?

Maggie looks at Roger, who is staring out the drawing room window. I'll take care of the funeral arrangements, she says, but there's one other thing I'd like to do first--take David (Daniel) and Amy away from here first. Yes, he says, of course. I could take them to the Inn, she suggests. Until Quentin is caught, he says. Yes, until Quentin is caught, she says--I think you and Alexis should go away, too, we should close this house completely. I don't know, says Roger. He could kill you, she warns, then races off--I'm going to have Hoffman pack the children's things. Roger looks stoic.

Angelique returns to Julia greeting her with a taunting "Good morning", then starts in on her, asking, are you cold?--hungry?--you must be thirsty. Julia doesn't respond. Angelique offers her a glass of water. Yes, says Julia. Good, says Ang, then tell me Barnabas' secret, Doctor!  Julia looks at her, then away, frightened.

Tell me all you know about Barnabas, demands Ang, then I'll let you out. You'll never let me, says Julia. But I would, Angelique assures her, Barnabas Collins is the only thing between us--after he's gone, I'll let you go back to your own time--if you still can--it's your choice, you don't have to decide now--you can stay here in this room. Barnabas will be looking for me, says Julia. I told him all about you, exults Ang, it seems that Hoffman got quite nervous, decided to leave. He'll never believe that, says Julia. In a few days, says Ang between gritted teeth, it won't matter if he believes it or not--have you ever really been hungry, starving, without food or water?--you know how you feel right now--imagine how you'll feel tomorrow, or a week from tomorrow--it's not a pleasant death. Angelique moves to leave.  No! cries Julia, and tries to bolt past her through the door. The two women struggle; Angelique succeeds in pushing Julia onto the bed, allowing her the time she needs to run from the room and lock Julia in again. Oh, no! moans Julia, banging on the door, then sinking slowly to the floor in despair. (This was painful to watch, poor Julia.)

Drawing room - I can't find Hoffman, Maggie tells Roger. Perhaps she's with Alexis, suggests Roger, they've become very good friends.  Angelique enters--who has? she asks. You and Hoffman, says Roger. Hoffman told me last night she was leaving, says Anf--she doesn't want to stay in this house any longer. That's incredible, protests Roger, she should have told me, or Maggie. She was afraid if she did, you'd have tried to convince her to stay, says Ang. I certainly wouldn't try to do that, says Maggie--I've taken the children into town, and I think you should go, too, Alexis, it isn't safe here anymore, you must realize that.  Roger pours a drink.  Whoever is doing this has nothing against me, points out Angelique. These murders have been irrational, says Maggie. I'm not afraid, Ang assures her. I don't understand you, asks Maggie--why would you want to stay here?  Perhaps you're right, perhaps I should leave, says Ang, realizing how odd she sounded, wanting to stay. I'll be up in David's room, says Maggie, you can ride into town, if you'd like.  Ang nods. Maggie leaves. Do you want to? asks Roger--are you going? I don't know, says Ang. You have no fear of death, have you? asks Roger. Why did you say that? asks Ang, suddenly suspicious. You weren't at the seance that started all this, were you...Alexis?  Roger speaks her name with a creepy significance (does he KNOW)?She stares at him.

Quentin stands outside the door to Maggie's room, calling himself a fool--I should return to the cave. No, find the doll, find out how Maggie killed Liz--find it, destroy it! He enters the room and closes the door. He begins looking through drawers; in a desk, he finds a handkerchief that says ECS on it. Elizabeth's, he realizes, taking it.  The door opens--it's Maggie!

Quentin and Maggie stare at each other. She's terrified. He shows her the handkerchief, it's Elizabeth's, he says--give me the doll--you killed her!  No! wails Maggie.I will kill you if that's what it takes to stop what's happening in this house, Quentin assures her, I'll kill you--he pursues her from the room.

Roger stares up at Angelique's portrait, wondering why he can "Talk to you but not to her--you're one and the same." Oh my God, you saw me kill my sister in this room--do you know how I feel?--the hate I have inside me? He hears Maggie screaming for Alexis. She bursts into the room--Roger--Quentin is out there, he tried to kill me! Roger locks them in--he can't get in here, he assures her. He will, he's mad, she insists, he will! She covers her face with her hands and sobs. Tell me exactly what happened, orders Roger. She rapidly explains--I sent the children into town and Chris was supposed to get us; I went into my room to pack and he was there--his eyes were horrible, so full of hate--we must call the police. Roger unlocks the door--there's a phone in Alexis' room, he says. Quentin will kill you, she warns.  No, he says, he'll be afraid to stay, he'll know you're calling the police--I don't hear him out there. Please be careful, please be sure, begs Maggie--he accused me of killing Elizabeth. You? asks Roger. Maggie presses her face against him--what are I going to do? she cries--we should leave this house, let it stand deserted, let him stay here until he's caught--we must leave. I will never come back to this house again, even when it's over, says Roger--this room that has meant so much to me, I will never see it again--oh, Elizabeth, why did you ever come here that night, why?--you would still be alive...This registers peculiarly with Maggie, who withdraws from his shoulder. Elizabeth didn't come here, she says. No, of course not, agrees Roger. No, she says, because Elizabeth was found in the tower room. Yes, that's right, says Roger. Yes, says Maggie, unless...unless somebody took he there. She gazes up at him. Oh, no, he says, Quentin killed her there.  What were you just talking about now, then? she asks.  I don't know, just rambling, he claims. She rises from the chair--no, she says, you weren't, you know something, don't you?--something you haven't told? No, he says, his lips compressed.  The truth hits Maggie, who starts backing toward the door--we should get some help, she says, because Quentin...she tries the locked door, finds she can't get out, and asks him for the key. He holds it out.  She gratefully comes to get it, but he pulls it away. Why Maggie, he says, aren't you afraid Quentin will be out there?  She smiles nervously and says no--I'm sure you're right, he's gone away--no, please, just...  You weren't going to call the police, were you? he asks, his voice rising with madness--what were you going to tell the police, that I killed Elizabeth...and Carolyn...and Angelique?  He advances on her as she blathers denial. He grabs her around the throat--"Well, you were right, my dear!" he says, "but they'll never know, will they?"  He begins to strangle her as she calls out his name, frantically fighting to free herself.

NOTES: Women in jeopardy--Julia fears a slow death at Angelique's hands, imprisoned, starving, thirsty; while Maggie is struggles in Roger's grip. Will she become his next victim in PT?

Chilling scenes with Roger--doesn't Louis Edmonds play insanity beautifully? He is really scary in this ep, talking to himself, to Angelique's portrait, seemingly sane one moment, crazy the next. He has realized that to cover his crime, he must kill, and does it now without thinking about it. Soon, he will be the only one left.

Angelique's plot to convince Maggie and Quentin that the other is a witch/killer is going too well. Unfortunately, Mr. and Mrs. Collins would have probably weathered even this if they had known each other well enough and trusted each other enough. They didn't, so Angelique didn't have to work too hard to turn them against each other. That Quentin hasn't realized that the gentle Alexis wouldn't be going to these lengths for him, that she can't be anyone other than his dead wife, shows how much in denial he is, poor fool--or is he just dumb?  He believes in witchcraft, so why not his witchcraft-practicing wife returning from the dead?  And Maggie, despite Barnabas' warnings, still trusts Alexis.

Will anyone save Julia? Maggie? Will Roger be the only one left in PT, and perhaps enter RT and start a killing spree there? Now there's a scary thought!


1055 - Roger continues to throttle Maggie as she violently works to free herself from his murderous grasp. Angelique comes to the door, hears the commotion, and demands, what's going on in there?--"Roger, open this door!"  Roger drags the unconscious Maggie over by the fireplace and leaves her there, first dropping a pillow on the floor to rest her head on. He opens the door just enough so he can see Angelique, who again asks, what are you doing in there?  I thought I heard a noise, he says, and came in to investigate, but there's no one here. She hears Maggie coughing for air and runs past Roger, who continues to insist it's nothing. Ang kneels beside Maggie--Roger tried to kill me, she mutters.  Roger, in the meantime, has fled.  Angelique helps Maggie up and into a chair; the latter chokes out, Roger tried to kill me because I know the truth--that he killed Angelique!This stuns Ang, who goes wide-eyed at the news. Roger--how do you know?  He said something that made me realize that he killed Elizabeth, explains Maggie--then he admitted everything--he even killed Carolyn , who knew that Roger had killed your sister. Roger, of course! says Angelique--"Why didn't I guess it before--he was at the seance, he sat right beside Angelique--and everyone knew he loved her--but she hated him!--how could anyone love a man like that?" I think we should call the police, says Maggie. I suppose so, says Ang--but declares, the man who killed Angelique deserves a very special punishment.

Roxanne lies asleep in the makeshift basement lab.  Barnabas stands over her, musing, Julia could revive her--but where is she, where?--if I could only make you rise, Angelique would lose her strength, but what if I were successful?--if you speak, Angelique would be destroyed, but I wouldn't be able to prove Quentin's innocence, or discover the fate of Julia--yet I've got to try--to do nothing would help neither of you--Roxanne, he says aloud, if you only knew how much we depended on you--and on me. He starts up the power. Roxanne's face glows, the machinery buzzes, Barnabas checks the dials. The fluids bubble, electricity flows between two wires as he attemps to bring her to consciousness.

Roger goes downstairs at Collinwood, stands in the foyer, then leaves the house.

Drawing room - Maggie opens the window and remarks to Angelique, I've never seen so many state troopers in my life. They'll find Roger, don't worry, Ang assures her--I'm going upstairs--will you be all right now? Yes, the latter says, she place is surrounded by state troopers, there's even one right outside the window. If you want anything, let me know, says Ang, and heads upstairs. Maggie says a silent prayer that Roger is caught quickly.

In her room, Angelique gazes into the fire and casts a spell--Roger Collins is trying to escape, she intones, but he will not be able to--somehow, he will find his way past the police and come to me--"We have had this rendezvous for a long time!" she announces, nothing can prevent it now--and she looks straight at us with THOSE EYES.

Barnabas continues to send electricity pulsing through Roxanne (the headband is off this time, so where he's infusing the power, I do not know); she glows. He finally turns off the power. I've failed, he says, nothing's happened to you--or, I'm sure, to Angelique--my only hope is to find Julia, if she's still alive. He leaves the basement.

Claude North is hanging out outside Loomis House, prowling around, staring through windows. He hides when he hears Barnabas departing, then enters the unlocked house.

Angelique's room - Roger enters as if sleepwalking, then stands in front of the portrait. Angelique approaches him--good evening, she says.  He turns to her--Angelique! You know, she says. Ishould have known from the beginning, he says, smiling. But if I am Angelique, then I'm dead, she says. I know, he admits. And you're not afraid? she asks. No, he says, nothing frightens me anymore--I have only this love for you--that's all that I have--I don't ask to understand anything, only to be near you, always. And yet you murdered me, she accuses. Forgive me, he says, I did it because I love you--I always will love you. She is suddenly beset by a terrible chill. Come to my arms, he offers--I'll warm you. Yes, yes of course, she says, that is fate, isn't it? Fate or whatever, he answers, I want to hold you. She clasps her arms, shivering. Are you sure? she asks. I want it more than anything, he assures her, beckoning her into his embrace. She goes to him. Oh, Angelique, Angelique, he croons, you have forgiven me, haven't you? "Hold me, Roger, hold me!" she begs. He does so, noting, you're so cold!  Closer, she says, closer, and pulls him more tightly into her grasp. I feel the chill, too, he says. Oh, Roger, I have searched for you for so long, and now you are here--hold me closely, Roger, kiss me. "Angelique, my darling," he moans, and presses his lips over hers in a long kiss. Feeling the cold being transmitted to him, he draws away, drops to his knees by the fireplace--it feels like the chill of death! he says. She kneels with him, takes him in her arms, and begs him, hold me closely. Feeling death claiming him, Roger cries, "I'm freezing, help me!" Can you feel the cold, she asks--do you feel it now, hold me, hold me near--you said you loved me, said your love was stronger than anything... What's happening to me? implores the dying Roger. She releases him from her grip; he falls to the floor. "You are dying, Roger, dying!" she cries.Noooo! He wails, but he takes one las breath, then dies. Angelique rises above him--you introduced me to the cold of the tomb, she says--"I felt I could do no less for you." She smiles bitterly down in triumph at the dead man who loved her so much, he felt compelled to kill her.

Claude North enters the Loomis House basement and surveys Roxanne.  Can you hear my voice? he asks--I've come for you--Roxanne?  He takes out his dagger--open your eyes and look into mine, he orders--feel the light flashing into your mind--it means I've come--you could never resist me--hear my voice--look into my eyes--Roxanne.  .  .Roxanne! Her eyes flutter open, making him smile. She looks at him.

Collinwood drawing room - Tell me what you've done with Julia Hoffman, Angelique!  demands. Nothing, she responds weakly, I don't know what you're talking about. Is she dead?--have you murdered her, too? he asks. Perhaps I have, she taunts--and perhaps not. You're  feeling faint, he comments although you deny it. No, she says, but he catches her mid-swoom. You are weak, he says, helping her into a chair. It's Roxanne, says Ang, something is happening to her--she must not be allowed to speak, Barnabas. For once we agree, he says, she must not speak, at least not yet. He leaves her almost unconscious in the chair.

Do my bidding, Roxanne, as you always have, commands Claude--when I tell you to come to me, you will do it, and when I order you to speak... Barnabas, standing on the stairs, says, "She will do nothing of the kind, Mr. North!"  Claude greets him--I'm surprised you know my name, he says. From the signature on Roxanne's portrait, explains Barnabas, and from a time I discovered a grave marked with your name. My grandfather's resting place, reveals Claude, an old trysting place of Roxanne and me--say good evening to the man, Roxanne, instructs North. No, says Barnabas, she will say nothing. You don't seem to understand, says North, she does as I tell her, not you. Barnabas warns him--one more word to Roxanne, and it will be your last. Claude grins, then chuckles--you have to forgive me if I don't believe that, he says. Very well, says Barn, moving to make good on his threat. Roxanne stands protectively, defiantly, next to North, who warns Barnabas, if you don't want her to speak--take one more step and I'm sure you'll force her to do exactly that. You don't understand, says Barnabas desperately, the life of Quentin Collins depends on her silence. What a shame, says North, that the life of Quentin Collins means nothing to me. Don't you realize how Roxanne has been used? asks Barnabas. No, says North, it doesn't  matter--I've found her again and that's all that matters. Isn't there anything I can say to either of you? begs Barnabas--if Angelique is destroyed... Then I have my Roxanne again, interrupts Claude, and that's exactly what I want!--find Angelique and tell her that her final destruction is only a matter of minutes. Barnabas gazes at Roxanne, who looks back at him, about to speak, but she doesn't. He gives her one last, long look and leaves. She lifts her hand towards him in supplication, but he doesn't see it. Claude puts his hands on Roxanne's arms and looks deeply into her eyes.

Angelique's shake violently. She thinks to herself, Roxanne must not speak, Quentin is coming to my room, I'm to meet him there--I've got to get upstairs, I must find the strength--if I'm going to be destroyed, Quentin will be destroyed, too!  Maggie enters--Alexis, she asks, have you seen Barnabas?  She realizes the other woman is struggling to rise from the chair and asks if something is wrong.  I haven't seen Barnabas and am just not feeling too well, says Angelique.  Is there anything I can do? asks Maggie. No, thank you, says Ang, then changes her mind--you can help me to sit by the fire, she asks.  Assisting her nearer the flames, Maggie suggests, a blanket or robe if you're cold. No, I just want to look into the flames, says Ang.  Brandy? Maggie offers.  No, says Angelique, I feel better now--stay here with me, would you?--do you mind?  I don't, Maggie assures her. Angelique speaks to herself, asking Maggie, can you hear me, feel my power?--if you do, touch my hand. Maggie.  The latter does so, patting Angelique's hand, looking mesmerized. Now, bids Ang, look into the flames, the light, the colors...look into the flames, Maggie, and now, look into my eyes. Maggie does so. "Can you still see the flames reflected in my eyes?" asks Ang. Yes, says Maggie, as if in a trance. Look more deeply, urges Ang, deeper into my eyes--and now you will do as I bid you, will you not? Yes, agrees Maggie. You will find a gun, instructs Angelique, in the desk drawer--go, find it. Maggie rises from her kneeling position and walks to the desk, where she opens a drawer and finds a gun. Now, says Ang, you will take the gun to my room--to Angelique's room--and there you will wait for Quentin--he will come to you, and when he does, you will raise the gun and point it at his heart--and you will pull the trigger--do you understand?  Maggie nods. Go now, orders Angelique--quickly, hurry, Maggie, hurry!  The other woman leaves the room, gun in hand, and heads upstairs.

Roxanne, can you hear my voice? asks Claude--if so, then speak to me--do you hear me?--speak!She doesn't say a word.

Barnabas has joined Angelique, who is so weak, she's leaning her head against her hand on the fireplace seat. He kneels--Claude North is with Roxanne now, he says--he's going to make her speak--there was nothing I could do to stop him. Ang looks up at him and says, in a pain-filled voice, "No!" In a matter of minutes, says Barnabas, you are going to be destroyed. It can't be! she protests. But before you go, says Barnabas, striding to the desk, you are going to sign a confession that will clear Quentin Collins. I will never do that, she says.  Barnabas begins to write, and adds, "And you're going to tell me where Julia Hoffman is." Angelique refuses--never!

Maggie sits, eyes glazed, gun in hand, waiting for Quentin.

Barnabas has brought the paper to the weakening Angelique for her signature, warning her, it will be all over for you in a few minutes--"Sign this confession--I beg you!"  I returned to destroy, not save, Quentin. But it will give you peace! Protests Barnabas. Peace, she mutters, getting into his face, I don't want peace!--I want his destruction!--and I will have it!  You have only minutes--seconds! he says desperately. "If that is true, dear Barnabas, than so has Quentin Collins!" she says harshly.

Maggie sits, waiting. The doorknob begins to turn. She points the gun at whoever is about to enter. . .

NOTES: OK, so we're down to our last few players in PT. Claude, less bombastic in this ep, is about to make Roxanne speak, ending Angelique forever. Barnabas is on his knees, begging her for her confession. Maggie waits to murder her own husband, a deadly robot sent to finish  Angelique's dirty business. Since Quentin DIDN'T kill Angelique, as she now knows, why does she want him destroyed, unless it's just so Maggie can't have him? Her motive for revenge was wiped away in this episode, wasn't it?

Roger did it, he did it all--murdered Angelique, Liz, his sister, Carolyn, his niece. Why did he do it? Because, as she admitted, she hated him, yet he loved her so deeply? Very strange man, obviously tortured in so many ways. He's better off dead, even if his death at Angelique's hands was particularly grisly. Like Alexis, it was clear that Roger, miserable as he was, did not want to die. It seemed only fitting that she kill him the way she did. Odd, too, considering how long it had been since she claimed a victim in this manner--unless it's been happening behind the scenes all along.

It hurt Barnabas that Roxanne sided with Claude, but what did he expect? She barely knows him, even if he feels he knows this no longer sleeping beauty upon whom he has a crush, quite well. He looked very disappointed in her, but she reached out for him, as though sorry she had done so. Will Claude be able to get her to speak, thus ending Angelique's reign of terror forever?

Maggie still seems to want to aid and be friends with Alexis/Angelique, even though Barnabas warned her. Now Angelique, with one of her dying breaths, has set up Maggie to murder Quentin, thus ridding her of both of them in one swell foop. Will it work? We shall see!

Will anyone remain alive when this storyline ends?

Were you surprised Roger turned out to be the murderer?

Love, Robin

1050 - In the drawing room, Liz despondently tells Julia, I'll skip my usual cocktail before dinner--not tonight--did you see Carolyn this afternoon?  No, answers Julia. Liz sits on the sofa and says, Will's death was a great shock to Carolyn--you've been with us a long time, Hoffman, Carolyn never drank much before, did she, when I wasn't around?  Of course not, Julia assures her. It's all so sudden and unexpected, says Liz, I hardly know what to do, I suppose I'll get over it, but I wish I could help her now. (She sounds so desperate!)  I'm sorry, says Liz, I know this isn't like me, to go on like this, but the way Carolyn goes on about Angelique's murder--if she comes here, you must get me--she rambles on so about the secrets of this house, and is convinced she knows who Angelique's murderer is. Julia's eyebrows shoot up. She doesn't of course, adds Liz--it's a delusion. Roger comes downstairs (he's been dressing a lot more formally these days, in a three-piece suit and tie), and looks preoccupied, to say the least. He enters the drawing room and asks Liz, will you excuse me and Hoffman?--it isn't very important, just about my room, he says. He closes the double doors, leaving himself and Julia alone in the foyer. Listen carefully--I don't know how to tell her, he says rapidly to Julia--Carolyn has been murdered!

Julia reacts fairly stoically, saying in a monotone voice, "Carolyn, murdered."  Roger explains--I heard her scream, I left my room, I heard another from upstairs--Carolyn is in the tower. Call the police, says Julia. Not until I've told my sister, says Roger.However, Liz has exited the drawing room and overheard. Her eyes are huge. In the tower--she knew, she did, says Liz--she knew who the murderer was. Liz, says Roger--please.  He attempts to comfort her.  Refusing to believe it, insisting, "I must see her," she hurries upstairs, Roger on her heels.

1100 - Julia, on the foyer phone, tells someone, Mrs. Stoddard is accepting no calls--yes, it's true, Mr. Collins has asked not to speak to anyone, either, I'm sure you understand--I'll tell them you called--I'm sure they'll appreciate your kindness. Julia enters the drawing room.  Liz and Roger sit on the sofa.  He holds her hand--please let me call Dr. Blum, he pleads. I'm all right, she says, wiping her eyes with a tissue. A brandy might help, Julia suggests. Liz refuses, as does Roger. It doesn't seem the moment somehow, says Roger, I've been accused of drinking to escape reality, well, perhaps reality has caught up with me this time--I think a brandy would be pointless--if only the police would find something--if only I'd gotten there a moment or two earlier. Liz bursts into tears and buries her head in Roger's shoulder. What was she doing there? he wonders--why was she in the tower?  It was the room where Will died, sobs Liz. This house, says Roger, looking around with hatred, there's a curse on it, everything that happens here--poor Carolyn--she's with Will now, I must think of that--she was so very fond of him. Liz sits up. We've got to find Quentin, insists Roger. I can't believe he did this, says Liz.  No one wants to, says Roger, but... He was always so fond of Carolyn, Liz reminds him. He's not as he was, says Roger. Why is he like he is, why? demands Liz--what made him this way--if I'd only listened to Carolyn when she said she'd seen him. She must have been telling the truth, says Roger. Julia listens to everything; hearing this latter, she carefully asks Liz, when did Carolyn say she saw Quentin?  Yesterday, she said, reveals Liz. Roger speculates--Carolyn must have gone to the tower to try to see him again. If I'd only talked to her, reasoned with her, laments Liz, instead of just dismissing her story as a mad delusion. I'm guilty of that, too, confesses Roger--Carolyn told me a secret, one (he turns to Julia and stops)--it's all our fault, really, he says, we've gone on living in this house half suspecting Quentin was here, ignoring all the signs that pointed to more violence. Liz rises from the sofa--I'm going to my room, she announces. I'll go with you, Julia offers.  No, says Liz, please--if there was only something constructive I could do to let me know I won't feel this way forever.  You shouldn't be alone, insists Roger.  I want to be alone for a few moments, says Liz, and leaves. "The sum total of my life seems to be that I can never help anyone," says Roger bitterly--I'll have that brandy now.  Julia goes to pour it. Roger asks is "he" in this house, do you think?  No, she says. Roger downs the brandy--oh, how I need it, he says. About the secret Carolyn told you, says Julia--did it have to do with her life--or Will's? No, says Roger--was Alexis upset over Carolyn?  Terribly, says Julia. How strange is it, having her in this house--don't you think so, Hoffman? he asks.  I'm enjoying her visit, says Julia, walking away from him, guarded. Are you? asks Roger--do you think that she reminds you of Angelique--you know, often, the two could be as one, don't you think so? Julia is saved from having to respond when Liz returns--Roger, I want you to come with me and decide where Carolyn is to be buried. Not tonight, says Julia.  Yes, insists Liz, I must start believing that she's gone, and it would help me to decide one thing--where she is to rest--please, Roger!  That can wait until tomorrow, her brother says. No, it must be tonight! says Liz--you must come with me to the mausoleum.

Cemetery - We spot Jenny Collins' gravestone, then a figure entering the tomb, a man. He closes the gate and opens the secret panel. He's wearing gloves. He enters the secret room, opens the stone step and closes the secret panel. The dagger is back on the chair. He lights the red candles, and gives a start when he hears someone entering the outside gate.

Liz and Roger stand in the outer tomb. I understand your grief, he assures her, but this is not right. I had to come here, says Liz.
The figure strands inside the secret room, menacingly clutching the dagger in one hand.

Why have we come here? Roger asks his sister. I don't want Carolyn buried next to Angelique, insists Liz, you can understand that, can't you? Yes, agrees Roger, she should be buried in the cemetery, with her husband. No, she's a Collins, says Liz, she belongs here--her ancestors are buried here. I'm certainly not going to argue with you, says Roger--if it's settled, we should go back to Collinwood. Not yet, says Liz--we have other things to do, and if you don't want to do them with me, I'll do them alone. I don't know what you're talking about, he says. You will, she promises.  They leave the tomb. The secret panel opens and the mysterious man exits. He leaves the mausoleum, too.

Loomis House basement - Roxanne lies on the table, twin peaks perky, the electric headband once more encircling her head. I must learn to bring you half alive so that Angelique cannot function, Julia thinks to herself--even though she's not directly responsible for Carolyn's death, everything that happens in that house is because of her--yet, if you rise and talk, Angelique will die, she told me that, and Quentin will be trapped!--I must be careful, very careful not to go too far. She attaches the wires to the machinery, but stops when she hears a door opening and closing upstairs.

Loomis House drawing room - It's extremely masochistic for you to even be here, Liz, says Roger. No, she insists. Why are we here? he asks. Liz rifles through papers on the desk. What do you expect to find? asks Roger. The name of her murderer, of Angelique's says Liz, gathering blue papers into her hands--if Carolyn wrote what she knew and how she knew it... Your loyalty to Quentin, under any other circumstances, would be commendable, says Roger, but... If Carolyn wrote that it was Quentin, says Liz, I'll believe it. She glances through the stationery. I don't need any written proof, says Roger. Quentin isn't the only suspect, says Liz. Who else? asks Roger. Trask, suggests Liz, the police haven't been able to find him--Trask is such a coward!  Cowards kill, asserts Roger, and Barnabas, what about him?  Barnabas wasn't here when Angelique was killed, says Liz. She discards all paper but one, and says, "Her handwriting--she never finished it."  What? asks Roger, taking the paper from Liz and reading--"If anything happens to me,  it is because he knows that I have the proof." She meant to tell us, says Liz sadly. Yes, agrees Roger, you found what you came for, now let's go back. She agrees.  They leave the house in a funeral pace.

(Roxanne has extraordinarily long eyelashes!)  This brought Adam and Eve alive, says Julia to herself, perhaps I'm taking too much of a chance with her--if Barnabas were only here...but he is NOT, and I must do what I think best. She turns on the power, sending the equipment humming to life. Have I set the dials correctly? she frets, she must be barely conscious, that's all! Am I taking too much of a risk? No, I must do it!  She examines an oscilloscope, fiddles with some switches. The equipment gurgles and hums. Roxanne lies still as the equipment buzzes and thumps into life around her, fluids bubbling, endeavoring to bring her to life. Her lips move. Julia shuts off the power. When she unhooks Roxanne, however, there is no change.What did I do wrong, wonders Julia--why didn't it work?  Alexis said Stokes used both science and black magic--I must learn what that black magic was!  The mysterious stranger from the mausoleum approaches the door of Loomis House, about to try the knob, but when he hears Julia exiting, he hastily retreats. Julia gathers her coat around her. The stranger returns to the house and opens the unlocked (!) door. The steps creak as he heads upstairs.

Roger tries to comfort Liz--of course it's a shock to you, he says to the grieving woman, but it can't be unexpected, I tried to tell you.  If I hadn't seen those gloves, she says. Julia enters. Did you see the police leaving? Roger asks her. No, says Julia, I was at Mr. Stokes'--Alexis asked me to go tell him--he was very fond of Carolyn and Will.  They found the murder weapon, says Roger--a knife, on the grounds near the cottage--but more incriminating, they found the gloves that he wore--Quentin's gloves--Liz gave them to him last Christmas--someone else might have worn them. No, it was Quentin, says Liz, even I believe that now. Are the police searching the grounds again? asks Julia. This time, says Roger, they don't think he'll be around--he'd better not, because if I find him...He must be caught, he must, insists Liz.  Julia doesn't say a word, but looks upset.

Loomis House - The man comes downstairs. In the basement, Roxanne sits up, then stands.She wanders to the stairs. The man exits Loomis House, or is about to when he hears a sound. He walks to the locked basement door and rattles it. He is about to leave when he hears someone coming, unlocking and opening the door. He brandishes his knife, ready to do away with whoever it is. Roxanne looks at him, smiles, and reaches out to him.

NOTES: Someone is trying very hard to make it look as if Quentin has killed the murder victims, but Roger is acting peculiar, more so than usual. One has to wonder...

They sure are dying quickly in this timeline, aren't they? Another series of toppling dominoes to lay at Barnabas' feet, one might say, because if Roxanne's beauty hadn't blinded him to what had to be done, perhaps Will, Bruno and Carolyn wouldn't have succumbed. Without Angelique, how many deaths would have been averted?

I felt terribly sorry for Liz, first in he agony over not being able to help her daughter deal with her loss, and then with the loss of her only child.

Roxanne always "comes to" after Julia and/or Barnabas have given up.  She's smiling at the man holding the dagger--could it be the mysterious Claude North?

Who else will die? Stay tuned for even more surprises!


1051 - The man draws Roxanne into his arms and hugs her. In a British accent, he says, I knew I'd find you again, and was foolish to let you go. She looks at him, not speaking.Why don't you speak to me? he asks--you're not able to speak!--what has Stokes done to you, and why has he brought you here, to this house-and where IS he?  He looks around, frustrated, then moves her head to look at him--I am Claude North, he says--there must be some way I can get through to you!  He takes from his pocket the familiar dagger.  "Surely you remember this," he says, holding it in front of her--"Look at it, Roxanne, speak to me! You do remember it, don't you." She caresses it, but still doesn't speak. North holds it in front of his own face, gazing at it--she does remember, he realizes, but it no longer has the effect on her it once had...whatever Stokes has done can be undone--I promise you I'll find a way to do so. She stares blankly ahead, her face expressionless.

Collinwood - Shortly after 4 AM - Barnabas is on the foyer phone, telling someone, Elizabeth is under heavy sedation and cannot be disturbed-yes, I know, Inspector--has there been any progress?--I see--I'll have Mrs. Stoddard call you. He goes into the drawing room.  Maggie comes downstairs and glances through a phone book on the foyer table. Barnabas enters--I thought you were with Mrs. Stoddard, he says. Roger is with her, says Maggie, I have to call Mr. Stokes---Alexis has had another seizure and is lying on her bed, barely conscious--I  want to call a doctor, but Alexis insists that I call her father. When did this happen? asks Barn. Just a few minutes ago, says Maggie, she was perfectly fine, then collapsed. I must go to the Loomis House, says Barnabas, I have something urgent to attend to there--I'll be back, don't worry. Maggie picks up the phone.

Claude North orders Roxanne--keep looking into my eyes, I have the power to restore you to me--if you will it--keep looking into my eyes and come back to me, Roxanne!  He repeats it twice, then grows angry--she has never resisted me before--what has been done to her?--if Stokes were here, I'd kill him with my bare hands--I'm taking her away from this place, I don't care about the deal I made with Stokes--I'll return his money to him, tell him the truth--he touches her shoulder and finishes, "That I can't live without you." Take my hand, he says, come with me.  Hearing someone fumbling with the front door, he says, I must hide--and you must do nothing to reveal my presence here, do you understand? She looks at him.

Claude hurries into Julia's former hiding place. Barnabas enters Loomis House to find Roxanne standing where Claude left her. What are you doing up here, how did you get up here? he asks. Claude listens from the opposite side of the folding door. Barnabas finds the dagger on the desk--I know someone was here, he says--was it Claude North?--have you seen him? Roxanne doesn't respond.  Do you know where North went? asks Barn--I'll take you downstairs. Escorting her down, he locks the basement door behind him.  North exits his hiding place and goes to the  basement door, looking down through the bars. He finds it locked, to his consternation, and promises himself, I will come back for Roxanne. He takes the dagger from the desk and leaves.

One o'clock (how could it have been four earlier?) Barnabas exits the basement. He finds the dagger gone from the desk. He must have heard me talking to Roxanne and will surely come back, sooner or later, muses Barn. He picks up the phone and dials Buffie Harrington--I'm bringing someone to stay with you, he says, someone who might be in danger--you've got to keep her there--I'm leaving right away. (Are we going to see Buffie again? Isn't it nice of Barnabas to possibly draw danger to Buffie, too?)

Maggie reads a book on her bed. She hears footsteps approaching and goes to her door to listen. She opens the door and looks out.  Barnabas? she asks, have you come back? There's no reply.  She returns to her room and closes the door. Hearing the footsteps again, she calls, "Who is it? Please answer me. Quentin is that you?" She quickly opens the door, hoping to catch someone, but, seeing no one, runs down the hall.

Claude North returns to Loomis House. He peers down into the basement and finds it open this time. He closes the door behind him and heads down, where he finds Julia's array of equipment, fluids and beakers. He hears the front door close; Maggie calls to Barnabas.  She goes into the drawing room, still calling to Barnabas. Claude North drops his hand to her shoulder, scaring her. She asks who are you, what are you doing here? she asks. Suppose I ask the questions? he suggests. Stay away from me, she orders.  I have no intention of harming you, he says--just look at me.  Hypnotically, he asks, "Who is Barnabas?"  Maggie, her face turned away, nervously says, Barnabas is the man who lives here. Tell me what you know about him! commands North. He's just a friend, answers Maggie. Where has he taken her? demands Claude.  I don't know what you're talking about, says Maggie. She was here earlier! he rants--I saw her!Maggie's forehead furrows--"Who is she?" she asks.  North again orders, look at me.  This time, she does, reluctantly. His brown eyes penetrate into hers--no, he says, you don't know what I'm talking about--when you see this Barnabas again, you tell him, "I'll be back!" (Just like Ahnold!) Who are you? Maggie asks. You just tell him what I said, orders North, I'll be back--he'll know who and what you mean. He leaves.

Collinwood - Barnabas heads downstairs, coughing. Maggie returns, nearly hysterical. Where have you been? he asks--I've been searching the house for you. Barnabas! she cries, I was to the Old House to look for you--I saw a man there, someone I'd never seen before, his eyes...they were frightening!  He didn't harm you, did he? asks Barnabas. No, replies Maggie, I thought he was going to at first, but he just wanted to ask questions about you. Did he say who he was or what he was doing there? queries Barnabas. No, she says--I asked him, but he wouldn't tell me anything about himself--he wanted to know who you were and where you'd taken her--do you know what he was talking about? No, I don't, lies Barnabas. He told me to tell you he was coming back, she says--do you have any idea who that man is?  No, says Barnabas, I'm sorry this had to happen, but why did you leave the house to look for me--you knew I'd be back?  I was afraid, confesses Maggie, I kept hearing strange sounds--I made up my mind, I'm not staying here tonight--this house has a murderer in it, and it's not safe for anyone!  And you're convinced the murderer is Quentin? he accuses. It's wrong of me, she admits--now there's so much evidence against Quentin, I can't believe he's innocent. He IS innocent, Barnabas assures her. How can you be convinced of that?--even his best friend thought him guilty, and tried to protect him, she says.  Cyrus Longworth made a wrong assumption, Barnabas insists. I know how much Quentin loved Angelique, says Maggie, and I also know how insanely jealous he can be at times--now it is possible that he could have imagined some indiscretion on her part--if he did, it's possible he could have killed her. It's possible for anyone if they are angry enough to kill, agrees Barnabas, but not many do it. I want so much to believe he's innocent, says Maggie, but if he is, who killed Bruno, who destroyed Angelique's body, and why did Quentin run away from jail?  I can't answer those questions, confesses Barn. I have one more, she adds--where is Quentin now?--in spite of the fact that the police have searched the house and grounds, I'm convinced he's in this house--and if he is mad, as Roger says...  Roger had no right to say such a thing! says Barnabas, annoyed.  If he is, says Maggie, it's possible he may intend to kill all of us, one by one.And on the landing, hiding in the corner by the door, Quentin overhears his wife's words.

Roxanne lies asleep on a bed. Barnabas stands over her, and says aloud, I wish she could hear and understand me--she holds the key to so much!--the force of your life in another body has caused too much suffering, it must be ended!--we must find a way to restore you, not only for Quentin's sake, but because I so long to know you as you really are. Roxanne sleeps on.

4:10 - Maggie lies restlessly asleep, dreaming: Quentin returns home in a jaunty mood, calling to Maggie, "I'm home!"  Whistling, humming, he goes into the drawing room and pours himself a drink. Maggie comes downstairs, giggling with pleasure. He greets her as the mistress of Collinwood, telling her how lovely she is, raising his glass in a toast to her. She's pleased he's home early--I didn't expect you until much later. The board meeting was only an hour, he says, kissing her forehead, and it was so short because I told them I had to get home to my lovely, lovely wife. She laughs. He kisses her forehead again. I also told them I was tired of long meetings and even more tired of long hours--and finally I told them they would have to do without my inspired leadership for the next six months. Maggie puzzled, asks, Quentin, what are you talking about? You and me, our life together! he says heartily, I've neglected you long enough!  I don't feel neglected, she assures him. That's what you tell yourself, he says, grinning, but I have devoted too much time to the company and not enough to you--we're hardly ever alone together!--but that's going to change, and do you know why?--because you and I are going to take a trip around the world!  What? she asks, stunned, delighted. The two of us, together, he says, we're leaving tomorrow.  Tomorrow? she asks, astounded--Quentin, don't you think we ought to plan this?  I'm tired of planning everything, he says, let's just start living--we'll just go!  What's the matter? he asks--don't you want to go?  I do, she says, of course, but I'm just overwhelmed. I'm glad, he says, hugging her, I'm going to see that you stay that way.  She covers her mouth and laughs, thrilled. Quentin notices a bouquet of red and white flowers and is instantly angry. Where did the flowers come from? he asks.  I don't know, says Maggie. You've been in this house all day, haven't you? he asks. Yes, she says. And you don't have any idea how they got here? he persists. I just told you I didn't, what's wrong? she asks. You know what's wrong, he says--these are the same flowers Bruno used to send to Angelique--now I told you they're forbidden to be in this house!  He waves them in front of her face. Darling, I don't know how they got here, says Maggie, perhaps the children picked them. Bruno's been in this house, hasn't he? demands Quentin, his anger escalating--he brought these flowers to you. That's absurd, she says.  DID HE OR DIDN'T HE? Quentin asks. He did not! she responds, upset. If you've been seeing Bruno behind my back...warns Quentin. How can you say such a thing? asks Maggie.   Because I know what Bruno is like! says Quentin. Then you obviously don't know what I'm like, she accuses. Maybe I don't, he agrees--you have behaved rather strangely ever since I walked into this house! Quentin, stop it! she cries. You know, he says, there's a good reason you don't want to go on a trip around the world. I just told you that I wanted to go! she protests. No you don't! he says, and that reason is Bruno--he's the reason you don't feel neglected. No! she cries. Quentin reminds her--you said you were surprised to see me home so early--well if you'd known I was coming home so early, you'd have disposed of these!  He tosses the bouquet to the floor. No! Maggie wails. You and Bruno, he says, how long has it been going on? I don't know what you're talking about, she insists.  He grabs her shoulders in a painful grip. Please let me go! she begs.  Quentin repeats his question: how long has it been going on--you and Bruno, I should have known better than to take your...  She bleats, you're hurting me, but it quickly becomes more than that--he's strangling her, still making accusations, tightening his grip on her throat as she begs him, again and again, to stop.

Maggie awakens and finds Quentin really there, beside her, hands on her shoulders, gazing down at her. She screams.

NOTES: Poor Maggie. That dream seemed to frame her fractured, odd marriage so well, unfortunately--bouts of love and joyous promises followed by a violent argument, although Quentin didn't abuse her physically. Now her psyche fears that he's mad, so of course, in her dream, he didn't just accuse her, but strangle her, too, reflecting her fear of him as a killer. Even though Barnabas does his best to convince her otherwise, the evidence against Quentin has mounted, thanks, probably, to the real killer of Angelique and Carolyn, and now she fears his murderous wrath will be turned on her.

Now Quentin has revealed himself to Maggie-does he know who the real murderer is? If not, it isn't wise to appear before her right now. I hope he can explain himself to her satisfaction.

Claude North seems mysterious, with an interesting ability to hypnotize. It seems he loves Roxanne, and she feels something for him, but he apparently gave her up to Stokes' experiment for money, despite his feelings for her. Strange dude!  One has to wonder what kind of man he really is. One also has to wonder about that dagger, and why she actually seems to like such a violent weapon. She caresses it as if it were a lover.  Makes you wonder about her relationship with Claude.

Interesting that we hear Barnabas call Buffie for help, but we never see her again. I guess he's been feeding from her, here and there, maintaining his hold on her, but it stinks that he'd ask her to give sanctuary to a woman in the same breath he says she's in danger--thus putting Buffie in danger, too!

I'm not all that interested in Claude North, although I was the first time I saw the series. I won't explain why right now, but you'll soon learn for yourselves.

Love, Robin

1046 - Angelique returns to consciousness, moaning, "The phone...father...the only one." She reaches out but toward the phone, but collapses again before she can even get close.

Barnabas leads Roxanne upstairs from the basement (didn't they perform the experiment in the secret room?) and gently says, keep walking, there's nothing to be afraid of.  She wanders as if in a dream. He faces her and says, you're very lovely--can you understand what I'm saying here?--can't you tell me who you are, communicate with me?--if not, try and tell me where you come from, what Stokes has done to you. She blinks at him. He pulls Claude North's drawing of her out of the desk and shows it to her--are you aware you're looking at yourself? he asks. She grins. You are capable of reacting to something, he notes, pleased. She trails her finger along the name on the picture. Yes, says Barn, you recognize the name--Claude North is important to you--why?--can you tell me who he is? Her smile turns rather bitter; she reaches out when he places the drawing back in the desk, as if trying to stop him. I'm taking you out of the house, someplace you may recognize--don't be afraid of me, he says, his tone soft, I only want to help you. He reaches for her hand and she trustingly gives it to him; they gaze at each other as they leave the house (no coat for her, Barnabas)?

Angelique manages to crawl across the floor and pull the phone down from the foyer table. Maggie runs downstairs, calling, Alexis!, helps her up, asks what happened. Heart! says Alexis. Maggie gathers up the phone and puts it back on the table--I'm calling Dr. Forbes, she insists. NO! protests Ang, no doctor!--call my father. Maggie helps her up, but protests when the fallen woman wants to move. I've had these seizures before, says Ang, I know what to do, please just help me. Maggie assists her upstairs. Can your father do what a doctor can't do? asks Maggie. There's some medication he can give me, says Ang as they continue trudging up the stairs.

Barnabas leads the redhead to the mausoleum and asks, do you recognize it--come, we'll go inside, he encourages. Her face shows fear. You mustn't be afraid, he says--no harm will come to you. She takes his hand, holding her nightgown off the ground with the other hand. They enter the tomb. She leans back against a wall. Barnabas notes, "You have been here before, haven't you?--you know where you're going and there's something about it that frightens you." He reaches for the ring, explaining, we're going inside because I must know more about you--I'll be by your side, nothing will happen to you. She gasps when the door opens and looks inside, trembling, scared.

Barnabas steps down into the room and beckons for her to come--no one is here, he says, taking her hand again. She steps into the room.  He lights a few of the red candles on the table. She looks around, frightened, backing away as if something terrible happened to her here, until she's pressed against the wall. Barnabas finds a knife on a chair, picks it up, and tells himself, someone else has been in this room since I was here, I'm certain of it.  He shows it to the girl and asks, does it means anything to you?--can you tell me who it belongs to? She smiles, caressing the knife. Does it belongs to Claude North? He asks--I've got to find a way to make you speak to me.

Stokes explains to Angelique, who lies in her bed at Collinwood, the moment Roxanne speaks, I'm afraid it will be the end for you. The end? asks Ang--what are you talking about?If she regains her powers of speech, he explains, she'll be in complete control of her faculties--it would mean the life force has left her body and returned to that of the other woman. Then I will die, says Ang, distressed. Yes, he says.  What will you do about it? she demands.  I combined black magic with medical science to do this, he reminds her--the medication I gave you a few moments ago should be of some help, but meanwhile, he says, lighting black candles, I will call upon the powers of darkness that have led me so successfully in this experiment. Over the candles, Stokes intones, "You that exist in a world beyond the scope of mortal view, beyond the realms of time and space, hear me as you have before, and again make your unique powers available to me..."

Barnabas tells Roxanne, I'm putting the knife back, and returns it to the chair. She starts to faint; he realizes she's getting weaker. He leads her up the stairs, promising, I'll take you back to Loomis House at once.

My strength is returning, Father, says Angelique--I feel much better--but we must make sure this never happens again. We have to find he body, says Stokes, and hide it in the safest possible place.  Find it! she orders. There is one way to find the body without going to look for it, says Stokes, by contacting Claude North, wherever he is.  Who is he? she asks. A man you're better off not to know, says Stokes angrily--I promised myself I'd have nothing further to do with him. You're going to break that promise, she says--get in touch with him tonight.

Barnabas leads Roxanne back into Loomis House. He holds her close, his arms around her, and helps her to a chair in the drawing room, then opens the secret bookcase.  Her gurney is still inside; she touches its vinyl surface before he helps her to lie down upon it. Barnabas gazes down at her, concerned and worried. He hears a car motor pull in with a screech and exits the secret room, closing the shelf. Carolyn has come home, bearing packages. Sounding happy, she calls, "Will, I'm back!--are you here?"  Dread on his face, Barnabas says, I must speak to you. I'm exhausted, she says, putting her shopping bag down on a table--I visited some friends in Portland last night and shopped all day today, then drove back--is Will here? Unloading her packages, she says, I hope Will hasn't gone out for the evening--I bought things for him in Portland. "Carolyn," begins Barnabas hesitantly. She finishes taking out her packages, remarking, Will and I have done so little for each other in the last few years.  Barnabas looks stricken. Our lives have changed so much since you came here, she says, but I'd like to think there's a little love between us...  Noticing his face, she asks, what's wrong?  He's gazing down, as if ashamed. Something's happened to Will, guesses Carolyn--there's been an accident. Carolyn, says Barnabas, Will is dead.  Carolyn's face expresses horrified disbelief.

Oh my God, moans Carolyn, you can't mean that. Her face twists in pain. I'm afraid it's true, says Barnabas--I'm sorry. Did you kill him? she asks, a tear starting down her face. No I did not, he says softly. Then how did he die? she asks. He jumped out of the tower window at Collinwood, says Barnabas. I don't believe you, Carolyn rails--Will would never do a thing like that!  It's true, says Barnabas, he was with Angelique--she found out he really knew she was Angelique.  Don't tell me anymore, begs Carolyn, then, her voice rising raggedly, continues, it's not just her fault, it's yours, too, you changed his life when you came here!--you made him your servant and took away what little pride and self-respect he had left!--you can't just blame it on her--you're as guilty as she is--I hate you, Barnabas, I hate you!  She races from the house, Barnabas calling her name. He returns to the secret room.

You're wasting time, Angelique accuses her father, just sitting there. I'll try to find Roxanne on my own once more, he promises, if I fail, I'll contact North. Why are you so afraid of him? asks Ang. It's not that I'm afraid, begins Stokes.  She interrupts--you are afraid!--and what is his relationship with this Roxanne, you still haven't told me that!  And I don't intend to, says Stokes, I told you it would be better off not having anything to do with Claude North. All right, do it your way one more time, agrees Ang, but if you don't succeed, you'll find him--I've come too far to have everything destroyed by your fear for some ordinary man!  Claude North is not an ordinary man, says Stokes, you'll know that at once if you meet him. He leaves. She sits down, still weak.

Collinwood - Maggie finds Carolyn in the drawing room--when did you get back? she asks. A few minutes ago, an hour, says Carolyn distractedly--time doesn't mean very much. She wanders around the room, saying, this is like a funeral parlor, isn't it?  I'm terribly sorry, says Maggie. Yes, says Carolyn, everyone is very sorry, and I don't know why--what did Will and I have, really?--what did we bring to each other's lives?--when you think about it, it wasn't very much--and yet despite everything that was missing, I loved him, and I guess he loved me. Have you been to see Will yet? asks Maggie. Carolyn's face twitches in pain--no, she says--I'm not ready for that yet, not ready to see him--if I looked at him now, it would only remind me of all the things wrong with Collinwood and the people in it. I don't understand, says Maggie. Carolyn clarifies--there's a fearful unreality about this place--no one in it is what he seems to be, or pretends to be, and right at the top of the list is Mr. Barnabas Collins. Barnabas? asks Maggie.  You think he's just an ordinary man, don't you? asks Carolyn. Yes, responds Maggie. Well you're very wrong, says Carolyn bitterly--Barnabas is far from being ordinary. Maggie doesn't get it. "THEN LET ME SPELL IT OUT FOR YOU!" cries Carolyn. "LET ME TELL YOU ABOUT THE REAL BARNABAS COLLINS, THE ONE VERY FEW PEOPLE KNOW!" At that moment, Barnabas interrupts her tirade--"I believe I heard my name mentioned?"  Wiping her nose, Carolyn says, our talk will have to wait--we have an eavesdropper. Carolyn! chastises Maggie. Barnabas sympathetically says, it's understandable that Carolyn isn't herself. You needn't worry about my condition, Barnabas, says Carolyn sarcastically, I've decided I'm going to survive--I have good reason to--and she gazes at him with hatred. Stokes, heading downstairs, overhears Barnabas tell Carolyn, what you're doing isn't going to help you. What I'm doing is my business, not yours! she retorts. Let me take you back to Loomis House, Barnabas offers.  No, she says--I'm planning to spend the evening here at Collinwood. Stokes stands by the door, out of eyeshot, listening.  I won't have a better opportunity than this, muses Stokes--Barnabas and Carolyn are here, I can search for Roxanne at Loomis House. He pops his hat on his head and hurries out.

Barnabas asks Maggie, please leave Carolyn and I alone for just a moment.  I suggest you do what he wants, Carolyn advises Maggie, if you don't, he has a way of forcing you to do it. Maggie looks at Barnabas, who just gazes back at her. She leaves. Barnabas closes the doors. Carolyn closes her eyes with misery, bites her lip. You know it would be easy for me to put a stop to what you're doing to me, he reminds her. Why don't you? she asks--I'm not afraid of you and I don't care about myself anymore. I'm not trying to hurt you, he says, anymore than I ever wanted to hurt Will. But you did, she says. It was beyond me--I was helpless to prevent it, he explains, and you know it--I always considered Will a friend; if you trust me, I will try to see his death is avenged.  Will that bring him back? she asks sadly. No, but it will bring you some small measure of satisfaction, he says--after all, you and Will were very happy together until Angelique came into your lives. Silent for a moment, she agrees--yes, we were. Come, says Barnabas, let me take you back to your house. I haven't seen Will yet, she says, let me go and see him, and then I'll go. He leads her out of the drawing room.  She walks slowly upstairs, Barnabas supporting her.

Loomis House - Carolyn and Barnabas have returned from viewing Will.  As she's heading upstairs to her lonely bedroom, he promises, I will send Angelique back to her grave--I have found a way of fighting her, it's only a question of time. She looks at him as if she doesn't believe him or care anymore, says nothing, and continues upstairs.  Barnabas removes his cape and enters the secret room.To his horror, Roxanne is gone!

NOTES: Uh, oh, looks like Stokes got Roxanne back! If so, Barnabas' promise to Carolyn will be an empty one.

Kudos galore to Nancy Barrett for her amazing performance today. Her sorrow, anger and bitterness were palpable, real, and you saw it all in her face and her eyes. That one tear running down her face truly broke my heart.

Jonathan Frid, too, turned in a wonderful performance as well, as the guilt-ridden vampire who still must keep his secret. Was Carolyn about to reveal the truth about Barnabas to Maggie? Seemed very close. He really is being sympathetic to her feelings, because he could just bite her and shut her up--but he won't do that to her because he cares for and respects her too much.  I like that.

I really despise Angelique and was glad to see her fall, sorry to see Maggie help her. Wish Maggie would get a clue. Now she has both Alexis and Carolyn dissing Barnabas--will she believe them and turn on him, too?

I know a lot of folks hate Roxanne, but I still think she's adorable, even if she is far too young to be Barnabas' girlfriend. He looks rather foolish lusting romantically after her, but I still think this is a fantasy entertained by the writers themselves and Dan Curtis. Even though Julia was far more deserving of his love, a cute, young chick is better--or so these guys believed.


1047 - Barnabas, upset, exits the secret bookcase room and closes the door.  Julia enters--what happened to the body? she asks--I was with Angelique, who became so weak, she could hardly stand!  The girl is gone, says Barn, and I think Stokes has her--go find out if this is so, and where he has her--I'll stay here, search the grounds, and check the mausoleum.  Yes, agrees Julia, she might have been drawn to the mausoleum, if she could walk by herself. Be careful, warns Barnabas--it's possible both Angelique and Stokes suspect you. I will, she assures him.  As Barnabas is about to leave, Carolyn comes downstairs--are you going out on another of your adventures to rid Collinwood of the evil of Angelique? she asks.  I'm doing everything I can, he says. Don't you think you've done enough? she asks bitterly. I told you, he says, how sorry I am for Will. He died protecting your secret, she accuses. He died, says Barnabas, to keep Angelique from trying to destroy Quentin and Maggie. And why shouldn't they be destroyed? she demands, getting in Barnabas' face. I know you don't mean that, he says softly.  I do, she assures him, why should Will be destroyed and every hope of happiness we had--all the years we were married, I kept telling myself, things will get better, now there's nothing, nothing at all--and you expect me to say well, as long as Quentin and Maggie survive, it's worth it--WELL I WON'T SAY IT, IT'S NOT WORTH IT--I don't care about them, I only care about Will, and he's dead...he's dead. I'm sorry, says Barnabas, if there was only something he could say or do...  And I'm supposed to live out my life, she rants, watching them enjoy their life together--what if I have no intention of doing that--what if I have my plan? I hope you don't mean anything specific, he warns. Maybe I do, maybe I don't, she says. If his death means anything at all, says Barn, it's to destroy Angelique; if she's not destroyed, his death was for nothing--do you want that?  Closing her eyes, she says no--I'm sorry, I really am, but I loved Will, and he loved me in some way, and now... You are going to get some rest, as I remember, he says.  Rest? she repeats, smiling bitterly--upstairs, in our room--did you say rest?  I must go do something important, he says, but I must know you'll be all right. I won't be, she says, but go on ahead, anyway--I won't betray you, if that's what you're worried about--and do you know why?--because it doesn't make any difference to me, who wins or who loses--go on, go out!, she orders, waving a tissue at him----you're protected by my indifference!  Looking uncomfortable, Barnabas leaves. Carolyn sits on the sofa and begins to cry.  She eyes the booze decanter a moment, rises, pours herself a large drink and takes a big swallow.

On the phone in Collinwood's foyer, Stokes asks "Mr. North", aren't you playing a prank of some kind--Roxanne isn't with you?--of course I'm serious--she's disappeared and it's imperative she come back at once--perhaps you could use some of that rather special psychic sympathy that exists between the two of you to find out where she might be...at least do one thing for me--meet me in half an hour at the usual place--we must find her, I can't exaggerate how important this is and how valuable for both of us--I'll see you there--be very careful--we have rather extraordinary enemies. He puts on his hat and leaves the house.  Outside the front door, he runs into Julia, who says, I've been looking for you--Angelique is very weak again, have you found the girl? No, but I hope to, possibly, he says. Anxiously, Julia asks, do you know where she is?  Possibly, he responds. Anything I can do to help? she asks. Possibly, he answers again--I'll let you know when I have more information. He checks his watch and hurries off. Julia enters Collinwood.

Woods - Roxanne, still in her blue nightie, wanders around, the wind blowing her short, red hair. She looks very sad. She stops, hears someone, hides behind a tree. Barnabas, flashlight in hand,  walks right past her. She exits her hiding place and unhappily watches him walk away.

Stokes is about to enter the tomb when he hears someone coming and hides behind a column.  Dogs howl as Barnabas enters the mausoleum. Stokes comes out of his hiding place, wondering to himself, what brings Barnabas here--how much has he discovered?  Barnabas opens the secret panel as Stokes watches from outside the gate--he knows that, too? Stokes muses--he knows far too much--he must have the girl--is she in there? Barnabas lights the red candles in the little room.  Someone's been here, he realizes, it's been cleaned up--is someone actually living here?--could she have come back here after all?--is this the place where I might find her?--the dagger, the one thing in the room that didn't frighten her, is gone! Stokes, standing outside the secret panel, checks his watch and quickly leaves the tomb. Barnabas finds a cufflink on the floor, and reads the initials aloud--"CN. Claude North, of course!"

Loomis House - Carolyn takes another sip of booze, finishing the glass. She rises from where she's been reclining in front of the fire and gasps when she sees Stokes outside the window. He knocks.  She unsteadily moves to let him in. He hangs up his hat--I hope I didn't alarm you   unduly, he says. Are you in the habit of looking into windows this late at night? she asks. I only wanted to see if you were up, he says--I was passing by and thought I could extend my serious condolences--your husband was a fine man and good friend. Fine? she asks drunkenly--he   was a drunk who squandered the gifts he had--and as for being your friend...  I know you didn't approve of our relationship, he says, nevertheless, he was my friend--I shall feel his loss very deeply. Excuse me, she says rudely--I'm very busy. She gets more booze.  Allow me, he offers. Thank you, she says. He fills her glass--say what you want about Will's talents, he says, I always thought them far beyond the ordinary--very far--don't get me wrong, but one thing fascinates me, but the influence of the name Barnabas Collins on Will's life--his biography of the 18th century Barnabas was his greatest success. Oh yes, she says, with an ugly chuckle, handing him her almost empty glass, his greatest success. Stokes pours her another drink and continues--and then a new Barnabas Collins came on the scene and he, too, in his own way, began to influence Will's life--I wondered if the new Barnabas Collins might not provide the material for a new book. He hands her another drink and continues--an extraordinary man, Barnabas Collins, don't you think? I really don't know him that well, she says. But there was, Stokes says, a connection between his arrival and the change in Will's life. I don't really know, she says, sounding angry that he's still talking. I suppose it doesn't matter now, says Stokes, he's gone, we'll never know the reasons--why would a man of his talents, his future, with a young, beautiful wife--why would such a man deliberately destroy himself?--I can't for the life of me figure it out--why would Will do such a thing?  She looks up at him--I would rather not talk about it, if you don't mind, she says. Of course you wouldn't, he agrees, it defies rational thought!  She drinks some more.  I think there must have been someone else behind it, says Stokes--am I right or wrong?--tell me. She looks him in the face--you're right, she says.Then there was someone else behind it, says Stokes again, but before he can question Carolyn further, Barnabas returns home. Carolyn coughs on her booze. Are you paying a social call at this hour? asks Barnabas. Yes, says Stokes, I heard about Will in town and came to express my deepest sympathies to Mrs. Collins (Loomis?). I'm sure she's accepted, says Barnabas, which means you are free to leave. It is rather late, agrees Stokes--we both have a taste for nocturnal living, Mr. Collins--it's a pity we aren't better friends, it seems we have much in common. I doubt that, says Barn. Carolyn listens closely. Stokes rubs his hands together and says, for example, my fondness for long walks over unusual terrain at night--just this evening, I was coming home, walking, and took a shortcut through the cemetery--would you believe, I saw you there?  It's possible, says Barnabas mildly, I took a shortcut myself--and now, if you'll excuse us, Mrs. Loomis is tired. Of course, says Stokes, but before I leave, he adds, when I mentioned your rather irregular life to Will a few days ago, he conjectured you might have a girl somewhere--was he right?--do you have a girl somewhere?  I believe I said good night, replies Barn curtly. Yes, good night, says Stokes. He bids Carolyn good night, puts on his hat, and leaves. Barnabas is very perturbed.  He said Will was gifted, Carolyn murmurs in a faraway voice--he said no one really appreciated him until it was too late, and he was right...  Come Carolyn, says Barnabas, reaching for the glass in her hand, let me take you upstairs--he only said those things to get you to talk. But they were true, all true, she says. Come, please, Carolyn, he says, annoyed. No, she insists, I don't want to rest, I never want to rest again as long as I live!  She races out the door, Barnabas calling after her.

Carolyn bursts through the front door of Collinwood, calling to Will.  She runs upstairs, still calling her dead husband. She walks across the landing.

Loomis House - Julia, go to Stokes, Barnabas orders, tell him you searched the locked basement and found nothing. At least we know he doesn't have the girl, she says. But who has? frets Barnabas. Perhaps she was able to move by herself and went out, says Julia. Perhaps, says  Barnabas, reaching for his cape--but I'm going to the mausoleum--it's possible she's going there, or Claude North is bringing her there--before you go to Stokes, find Carolyn. Isn't she upstairs? asks Julia. No, says Barnabas, she went to Collinwood, I'm very worried about her, she's very upset--there's no telling what she might do.

Carolyn opens the tower room window and looks down. He died here, she reminds herself, jumped, so far down, so far...Will!  She begins to sob, her head down on her arm. A man wearing Quentin's hideous plaid jacket enters the tower room--is it Quentin? He closes the door and goes over to the crying Carolyn, puts his hand on her shoulder. She turns around, startled, sees it IS Quentin, and says his name. You shouldn't be up here, he says, his tone very strict.He's dead, she says sadly, Will is dead. I know, says Quentin, I'm very sorry. What will happen to us? she asks, all of us? I don't know, he admits. We'll never win--she's too powerful, says Carolyn--Barnabas is powerful, too, but she'll win, I know it. What are you talking about? she asks. Angelique, says Carolyn--she is Angelique, you know--she's dead, but she's alive.  You're drunk, accuses Quentin. Carolyn continues, insisting, she's going to destroy all of us. Angelique does not exist, I destroyed her myself, Quentin says. Carolyn, crying, lifts her head--that's not possible, she says. Yes it is, he says--get out of here. Then my mother didn't...begins Carolyn, pleased. What are you talking about? he asks. Nothing, she says--I'm going to go now, you're right, I shouldn't be here. You're right, you shouldn't be, he agrees, and if you tell anyone... She holds his arms and promises, I won't tell, don't worry, your secret is safe with me. It had better be, he threatens.  She leaves. He closes the door after her and sits down on the bed, thinking.

Mausoleum - Barnabas opens the secret door and enters the tomb. He sits down in the chair, hears a noise, rises and finds Roxanne in the outer room of the mausoleum. You! he cries, but she turns to leave. Wait! He calls, but she's gone. He quickly closes the secret room.

Cemetery - Roxanne kneels in front of a tombstone, running her fingers over the lettering.When Barnabas finds her, she has collapsed on what turns out to be Claude North's grave, who was born in 1814--and died in 1866.

NOTES: Ah, the plot thickens--is Claude North some ghost, vampire or other supernatural creature that has returned after death?

Quentin HAS been hiding out at Collinwood! He told Carolyn HE took care of Angelique, but she doesn't know what he's referring to--that he and Cyrus burned what they THOUGHT was Angelique's body way back at the beginning of this storyline! Carolyn told him the truth, that Angelique lives NOW, but Quentin only knows what he did and that what Carolyn told him is impossible.

The rightfully embittered, drunken Carolyn is a hoot--and right on target. When she asks if he's going out to rid Collinwood of the evils of Angelique, you picture him as a superhero (caped!) and it's wickedly amusing. Here I come to save the day! He might sing if this were an opera--"Barnabas C is on his waaaaay!" Her early scene with Barnabas was heart-breaking, as she goes from threatening to put her own "plan" into action and ending with her tears over her loss. How skillfully Stokes questions her, and how close he comes to learning about Barnabas! That he worked on her and hurt her, emotionally, was especially cruel; one senses Will's ghost would gladly punch him out if he heard how Stokes rubbed salt into his vulnerable wife's gaping wounds.

Carolyn now believes her mother did not kill Angelique, but that's only because she believes Quentin did. This is an interesting mix-up. Both parties are wrong.

Another Emmy-winning performance by Barrett today. She plays every scene with brilliance in this ep.

Love, Robin

1044 - Barnabas listens carefully to Hoffman's eerie voice.  A terrified Will points out what appears to be a person, but turns out to be a piece of purple clothing. Hoffman is in this room! insists Will.  She isn't, says Barnabas--her spirit is, protecting Angelique as always. Go from here! says Hoffman. Let me help you, says Barnabas, I know you cannot rest, and I know why--because your mistress is not at rest, either--she walks the halls of Collinwood, but should be in her grave. Will bites his lip, listening nervously. Go! calls the ghost.  Hoffman, you are keeping your mistress alive, says Barn, keeping her from joining you--is that what you want?--would your spirit not like to rest?  Hoffman's ghost begins to sob.  Barnabas continues--both you and Angelique could enjoy the peace--you shared so much, if you let us go into that room and do what we came to do--did you hear me, Hoffman, did you? Do you understand me? She continues to sob.  Will clutches at himself, terrified. Let us enter, bids Barnabas, as the ghost of Hoffman continues to cry.  It suddenly stops.  Do you still feel a presence in this room, Will? asks Barnabas  No, says Will--how did you do it? They go to the curtained-off room. The spirit does not wish to leave the grave, answers Barnabas--it wishes to rest, it wants whatever it caused it unrest to  vanish--Hoffman knows now that this is possible. They enter the room containing Roxanne's draped body.

Angelique sits unhappily by the fire.  Amy, seemingly terrified, runs downstairs, stops short when she see her, and backs away. What's wrong? asks Angelique.  The little girl asks, where's Maggie?  In town, answers Angelique.  I want to see Quentin, says Amy. He's away, says Ang. I saw someone outside in the back, says Amy, I was looking out my window--he crossed the lawn!--he saw the open window--he looked like Quentin!  You did? asks Angelique.  I think he crawled in a window, says Amy, but I'm not sure--why would Quentin do something like that? You didn't see Quentin, Ang tells her, smiling, you saw a shadow, that's all, lightning flashed and you saw a shadow--why would anyone want to climb in a window? I don't know, says Amy suspiciously, but then I heard someone at my door. That was I, says Ang. No it wasn't, says Amy, I know it was a man. You remind me of me when I was a little girl, says Ang, I had a very vivid imagination, too. It wasn't that, says Amy, it wasn't--it sounded like Quentin, or Barnabas.Neither of them is here right now, says Angelique, I'm sure of that.

I feel a strange kind of humility, Will, daring to try without Julia's help, says Barnabas--to bring this creature back to life. He lifts the sheet.

Angelique is touching her face, looking strange. If you say no one was there, I have to believe it, says Amy. Angelique looks as if she's going to faint.  Amy, scared, asks what's happened to you?  Angelique sits down in a chair and smiles--nothing, she says--I just felt faint a moment, that's all--tell me again what you said.

Will asks Barnabas, are you sure the woman is alive?--she hasn't moved since we entered this room. Stokes put her in this state, says Barn--check the books at the foot of the table and see if he has any records on her. Angry, Will looks quickly through the notebooks and agitatedly says, we've been here too long.

Collinwood - Angelique rises, holding herself--Amy, she says, I'm glad you realized no one was there--you can go back to bed now, right, now that you're no longer frightened?  I'm not, agrees Amy.  Good, says Ang, but when she goes to kiss her, has another dizzy spell. Hurrying to the door, she orders the little girl back to bed and grabs for her coat. There's something I must do, she tells the terrified Amy and disappears into the storm. Amy closes the door and looks around the foyer, telling herself aloud, I'm not afraid. She doesn't look as if she believes it, however, as she ascends the stairs and walks across the landing. Hearing a door slam, she stops a moment, but opens the door to the hallway, walks to a door and unlocks it. We see a piece of statuary covered in cobwebs.

Stokes cottage - We see the stuffed parrot. Angelique enters, screaming for her father. She opens the door and finds the girl's body gone. Oh no! she cries.

Barnabas finishes draping the girl's body, which has been transferred to the secret room at Loomis House. You should have listened to me, chastises Julia, you have no idea what you started. Will points to the body and says he has, and he's explained it to me. Julia tells Will you don't know--I want to talk to Barnabas alone. Will nods and leaves.  I know you're against this, says Barnabas, but it's done now.  No, counters a tight-lipped Julia, it's just beginning.

Outside the secret room, Will hears someone knocking at the door. He goes to answer it.

Barnabas hears the knocking too. "Who do you think that is, Barnabas--who?" demands Julia. I don't know, says Barn.

Will opens the door to Angelique, who has a shawl over her head.  She asks to see Barnabas and enters the house, shivering.  Will gazes at her in consternation.

Isn't Barnabas here? asks Angelique. Will stops gaping and closes the door, then smiles and says, you don't know Barnabas--you never know when he's going to be in--I think he has a girl somewhere. That's a girl I'd like to meet, remarks Ang. So would I, says Will cheerily, he's a very secretive man, Barnabas. I've noticed, she says wryly. In the secret room, Julia has her ear pressed to the door.  Barrnabas is right behind her, listening carefully. Well, says Ang, it doesn't matter if I stay here a while and wait for him, does it?  I'm going to start work, says Will--and Carolyn's not here. Barn and Jul exchange worried glances. Half an hour won't matter, insists Angelique--you should go ahead and work and I'll wait for Barnabas.  Desperately, Will says--he just won't be back!  She sits in a chair just a foot or so from the bookshelf and says, if I didn't know any better, I'd think you were trying to get rid of me. I tell you, says Will, he won't be back, he just won't!  Are you sure? she asks--that's funny, I thought he stayed here mot of the time--I mean, we never see him at Collinwood, during the day, and then in the evening, he's usually in and out. You never know what to expect from him, says Will, trying not to look nervous. Why are you so nervous? she asks.  I'm not, he says.  Yes you are, she insists--isn't this the evening you're supposed to spend with my father at the Eagle? Yes, responds Will. You decided not to go tonight, she says. And do you know why? he asks, it's embarrassing for me to admit, but tonight's a very important night for me--you see, every once in a while, I try to turn over a new leaf, I just try. Barnabas and Julia, heads cocked to the door, keep listening. Will blathers on--tonight's the night for me to start--I'm going to begin writing again, I've got the greatest idea for a new book! Well, she says, if you talk about it, it will be more difficult to write, won't it? She rises from the chair, moves even closer to the bookcase and begins looking through the books. Will, freaked out, darts forward and says, you're absolutely right.  Angelique, who has taken a book from the shelf, looks at him oddly.  Everyone left me alone tonight because they know how difficult it is for me to start, says Will. Oh, she says, well, then it would be graceless for me to stay, wouldn't it? She puts the book back on the shelf. He chuckles--I think so, he says. Since you're going to be working, you'll probably be up when Barnabas comes back--don't tell him I was here--I want to surprise him--soon. Will follows her to the door, arms crossed over his chest.  When she wishes him luck, he calls out, I'm really going to need it!
Back in the secret room, Julia tells Barnabas, "I will."  Barnabas wearily says, I know you want to say "I told you so" and you'll be right. No, says Julia, I don't want to say that at all. Will knocks on the shelf--she's gone, he says--don't come out yet, she just might come back. We might as well get to work, says Julia, gazing at the body. Barnabas turns and reminds her of what she originally said about not being willing to help him. I changed my mind, she says.  You know it has to be done here, says Barnabas, because of the danger now. She nods. He takes her hand in his.  "Thank you, Julia," he says fervently.

Amy wanders the dusty room, musing, I should go back to bed--I won't find anything--and tomorrow, I can tell Daniel--he won't believe I did this, he thinks I'm always scared!  Hearing a door open and close, then footsteps, she hides in a corner. Someone enters the room. She peers out and, breathing heavily, stands there.

You're not here anymore when I want you! rants Angelique at Julia--something like this happens, you're no where to be found!  Julia listens stoically, and reminds her, "I do have other duties." Blares Angelique--the one night you should have followed Barnabas everywhere he went...! The body's moved before, Julia reminds her. And I always felt it when it did, says Angelique, pacing to the window--go to the Eagle and find Father--take him back to the cabin with you, explain to him what happened, maybe he knows what happened, I'll meet you there later. What will you do? asks Julia. I'm going to think very hard about how Barnabas Collins could have found out about that girl, says Angelique, livid at the thought of it. You don't know that he did, says Julia. Yes I do, says Ang, I'm not nearly as naive as you are--you're far more trusting than you ever were before, she adds, gazing speculatively at Julia, who leaves the room.

Amy wanders corridors, wondering which way. She opens a door and looks inside,where she finds on a table the bust of Bruno with the ascot tied around its throat.

You're neglecting one vital point--that Alexis is Angelique, points out Barnabas to Will--all we have to do is show Quentin that body in that room. But even if we did find him, begins Will. You will find him, insists Barnabas, tonight! That's impossible, says Will.  He needs help, insists Barnabas, you know the house, the grounds, go start your search! Will goes.

Stokes' cottage -  Your father said nothing, Julia explains to Angelique--he really was quite incoherent. Drunk, of course, says Ang--Hoffman, what am I going to do?--I must have that girl--I can't do anything without her, I have to worry every single minute!--it can just end like that!--I must stay calm--what are Barnabas Collins' choices?  You must consider the possibility someone else may have taken her, says Julia. No I won't, says Angelique, HE is my enemy, why hasn't he killed her?--I would think he would have done it by now--surely he must know that would end me?--I don't understand him, but I will--I WILL!Concerned, Julia considers this threat.

Collinwood drawing room - Amy hands the ascot-wrapped voodoo doll to Will.  Where did you get it? he asks. In a room in the West Wing, she reveals. Which room? he asks. The tower, she answers--what is it, Uncle Will, why are you staring at it like that?  Gazing at the doll, Will says,  because it's very unusual--I'm putting you to bed. No, protests Amy, there's someone in the house, nobody else will believe me--please, there is someone upstairs. I believe you, says Will.  She's stunned.  Honest, he says, and I will do something about it. He leads her away. We get a glimpse of the storm through the window.

Loomis House, Barnabas chastises Julia--you shouldn't have come here again. She went up to her room, explains Julia. She might have been pretending and followed you, he says. No, insists Julia, I had to warn you--she is absolutely certain that you have the girl--she will stop at nothing until she destroys you, Barnabas. I must be careful, he says--we must both be careful. Julia nods.

Will, heading to the West Wing tower, warns himself, be careful--Maggie says he's mad--Quentin will know I'm on his side, he'll realize I want to help him...unless...unless somehow Angelique has changed him? He stands at the door and determinedly goes in. The room appears empty at first, but he searches and finds, on a table next to the bed, a tie--Quentin's? he wonders, triumphant. Footsteps approach; the doorknob is turned. Will's eyes seem ready to bug out of their sockets. Who is it?

NOTES: Who does Will see? Someone who apparently shocks him. Is it Quentin? Has he been hiding out in his own mansion?

Julia is really being very indiscreet, but having Barnabas hold her hand (if, indeed, that's what happened, my tape of this ep was absolutely terrible, loaded with blue screens that interrupted nearly every scene, so I might have missed some dialogue or even action along the way). It appeared that when she reversed her decision and agreed to help him (and I sensed she did that because she was impressed that he had the cojones to bring the girl to Loomis House in the first place). Besides, she loves the guy, and will ultimately do anything for him. She's killed on his behalf, so what's bringing to life a comatose woman while killing an evil one? I hope I was right and he did grasp her hand; it's not a kiss, but it's some contact! Julia is so right, though, Angelique refuses to entertain the possibility that someone else might have stolen the girl's body, and is homing in on Barnabas. Julia will stand by her man, hair-brained scheme or not! I think both Barnabas and Julia will learn, to their detriment, that Angelique is far more formidable and intelligent, not to mention desperate, than they realize.

Hoffman was silenced by the thought that Angelique might join her in death. Somehow, I didn't think she would go for that, knowing what Angelique wants--Quentin and to stay alive! I don't think that's in keeping with Hoffman's character as we knew her in life. Eerie scene, though, wasn't it?

Will in this time seems as cowardly and fearful of spirits as Willie Loomis in RT. He's still a touch of comic relief, and so cute, isn't he?

Angelique was furious at Julia, and that's scary, because she can see the difference now between HER Hoffman and this replacement. Julia had better watch out, because an ired-up Angelique could prove hazardous to her health.


1045 - Angelique joins an astonished, frightened, Will in the tower room. You seem surprised to see me, Will, she says. He is. Who else were you expecting? she asks. No one else, he answers evasively. Why are you here? she asks.  He turns the question around--why are YOU here? I live in this house and you don't, she points out. He smiles and nods--you've got a good point there--I guess I'd better be going. She leans back against the door, barring his exit--what's your hurry? She asks. I want to go back to my own place, he insists.  You shouldn't be surprised to see me here, she says, you should have known we'd have this private little meeting sooner or later. I don't know what you're talking about, he says. Come on, says Ang, it's pointless to pretend any longer--you know the truth about me, and I know you know it. Look, Alexis, says Will. That's not my name, she says, you know what it is--let me hear you say it. You have made some kind of mistake, he insists. No, the only person who has made a mistake is Barnabas Collins, she says, because he doesn't know, you see, how much you and I mean to one another. He gulps. "How irresistibly we were always drawn to one another," she continues relentlessly, but you remember, don't you, Will?  He nods, eyes closed as if in pain, then turns away--I can't listen to this, says Will. What's the matter--you aren't afraid of me, are you? she asks--I'm Angelique, YOUR Angelique. She reaches to touch his face, turns it around so he's looking at her. She caresses his cheek. Angelique is dead, he states firmly. How can you say that after you felt me touch you? she asks, smiling--you always loved to be caressed, didn't you, Will?--don't you remember all the nights we spent together? (whoa, if we ever had any doubt these two had an affair, I think we can quell it now)--sitting by the fire, then you'd read to me from one of your books, and I'd tell you how proud I was of you--I was your inspiration, that's what you told me--you remember, don't you?--everything?--everything--she leans in to kiss him.

Loomis House - Barnabas and Julia exit the secret room. It will be dawn soon, he says--you won't be able to accomplish anything with the body--we can start tomorrow evening. What time do you want me to come back? she asks. Whenever it's convenient for you to get away from Collinwood, he says. That's been more and more difficult, she frets-- Angelique keeps asking me lots of questions, but I'll try to think of something to get back here.  Do you have all the materials you need? he asks. Yes, she says, it's all set up downstairs.  I'll be waiting for you when...says Barn, and stops--Will Loomis is in some kind of trouble, I can feel the vibrations of his fear (and how strong that must be!)--I sent him to Collinwood to look for Quentin, who would have no reason to hurt him--he must have been caught by Angelique, I must go help him! No, warns Julia, it's too close to dawn, I'll go. No, says Barn, he's with Alexis, there's nothing you can do to prevent betraying your own secret. I'll find some way, somehow, she promises, but you must promise me you'll stay here. All right, he says, but remember, be careful. She nods and leaves. Barnabas gnaws on his forefinger as the clock strikes, and heads downstairs to the basement to take his daily nap.

Angelique, still caressing his neck, reminds Will, you never could resist me, why are you trying to now? Suppose someone came in? he asks. No one's going to catch us, she assures him--we're all alone, just the two of us, just the way we always wanted it. She moves her hand over his mouth, then moves to replace her fingers with her lips. He pulls violently away, running his hand through his hair. You're disappointing me, she complains as he wipes his mouth--I expected you to be far more responsive than this! He smiles--I know what you mean, he says. Something--or someone--has changed you, she says, her eyes flashing with anger.  What do you want from me? he asks. The truth, she commands. About what? he asks. Everything, she says--but we're going to start at the beginning and take it step by step--first of all, just look at me, she insists, her hand on his shoulder--turn around and look at me! He struggles, his face twitching. He finally turns to face her. You know the truth about me, don't you? she asks. Will nods--yes, I know, he says, his mouth trembling as he calls her Angelique. How did you find out? she asks. What difference does it make? He asks. Did Barnabas tell you? she asks, twice. Will struggles, points a finger at her, and says, "Listen to me...I swear to you...I swear to you, I promise you, Angelique, no one will ever know your secret--I don't know how you did it, I don't care, but I promise you, no one will ever know."  He backs away as he speaks, attempting to ward her off, but she follows his movements--I wanted more from you than just a promise and you know it, she says. She covers her nose and mouth with her hands. Please just let me go, begs Will, leave me alone. No, because we're only beginning to get at the truth! she cries. His face shakes and he screams out incoherently, banging crazily on the window sill, "I CAN'T TELL YOU ANYMORE!" Yes you can, she insists, because you know something I've wanted to know ever since I came in here--and I'm not going to let you out of here until you tell me--I want you to tell me the truth--the secret of Barnabas Collins!  Will turns to face her, stunned.

The stained glass window glows with lightning behind him as Will insists to Angelique, Barnabas has no secrets. I know better, she says, closing in on him again, I know that he's under some kind of curse, and you will tell me what it is and why it gives him certain powers! Once again, he moves away from her--I can't, he says. Yes you can, she counters--all you have to do is look at me the way you used to!--just turn around and look at me, Will, into my eyes, deep into my eyes! His face shakes frantically; he lunges away from her again, sobbing out, "NO!"  Turn around and face me, Will! she screams. I'm not going to look at you, he cries. Yes you are, because I'm commanding you to, she retorts. I won't do it, he says, stop it! You don't have any choice, she says, you know I have powers, too, you know what I can do to you if you don't tell me what I want to know. Will loses it. He faces her and shouts, "I'LL NEVER DO IT--DO YOU HEAR ME? DO YOU HEAR ME?" He grabs one of her hands, holds up a finger and says, you never cared for me, never, and you're evil, and I hate the sight of you!  He covers his face and moves away, sobbing. What kind of power does he have over you that you can resist me this way? she demands. Will sinks onto the bed. He has no power over me, says Will, wild-eyed. He's got to, she says, you would never have spoken to me that way before--you know what you are--a fool!--nothing but Barnabas Collins' slave!  Will appears to consider her accusation.  She drops both hands to his shoulder, leans in close to his face, then says, think what life could be like with me, think what the future could be like--with me you'd start writing again (he shakes his head) be famous, live the kind of life you've always wanted to live, be rich and famous--you could live, Will! Stay away from me, he says, pulling back from her. You know I'm telling you the truth, she pursues, you know how much I could help you!  Will climbs up on the windowsill and opens the stained glass window. He gazes down at her and warns, if you come any closer, I'll jump--you see, I won't betray Barnabas because I can't--don't come any closer, Angelique, please, don't. What kind of hold does he have over you that you'd be willing to give your life for him? she asks, incredulous. The wind ruffles Will's hair. Julia enters the room.  Will tumbles out, not a deliberate leap, but simply a tragic accident.  Angelique stares out the window at Will's fallen body; Julia stands next to her. They see him down on the patio, lying on his back, dead still. YOU MADE HIM DO IT! shrieks Angelique at Julia--"YOU'VE RUINED EVERYTHING!" Julia backs away from the furious woman--"I'm sorry, I had no idea!"  Maybe he's still alive and can still tell me, suggests Angelique, hurrying from the room, Julia trailing behind her.  Abruptly, Angelique turns on Julia, demanding, what were you doing up in this room, what did you come here for--what were you looking for--"ANSWER ME, HOFFMAN!"  Julia, startled, says, I had a feeling you might be in danger. I was in no danger whatsoever, says Ang angrily. I suppose I must have been overanxious, admits Julia. How did you knew I was in the tower room? asks Angelique. I came looking for you, says Julia, and came to the West Wing and heard voices--I followed them and recognized your voice--then I came here. What was Will doing here? asks Julia. Probably looking for Quentin, says Angelique, rushing out. Julia glances behind her and says, "Quentin was in that room."

Out on the terrace, Angelique and Julia kneel beside Will.  I can't get a pulse, frets Angelique. Julia, forgetting who she's supposed to be, says, his spinal cord was severed on impact, he died instantly. Angelique pounces--I'm intrigued by your diagnosis--have you a medical degree? Julia gazes at her evenly. How do you know how he died? demands Angelique. Many years ago, relates Julia, I saw the body of a man who had jumped from a room, his neck was distorted the same way Will's is--when the doctor arrived, I remembered what he said. You have a very good memory, Hoffman, says Angelique. Yes, I know, replies Julia, smiling a bit. I guess we'd better go inside, says Ang, and give someone the tragic news of Will's death. Julia nods. Both women take one last look at the dead Will, and move on.

Loomis House - dusk - Barnabas rises from his coffin and closes the lid. He goes upstairs and exits the basement, saying I'd better look in the secret room and make sure the body hasn't been disturbed--then I can send for Julia. He is just about to open the bookcase when he hears Angelique's voice behind him--I've been waiting for you, she says.  In an incredibly natural, fluid gesture, Barnabas pulls out a book instead. May I ask why you're here? he asks. Hands on hips, she asks, why?--does my presence disturb you?  Why should it? he asks. I'm asking you, she counters. How long have you been here? he asks. A few minutes, she says, settling on the sofa--I haven't been snooping around, if that's what you mean--I've learned that you keep your secrets well-hidden and any physical search for them is a waste of time. Barnabas looks at her and asks, why are you obsessed with the idea that I'm a man of a thousand secrets?  Because you are, she says. Surely that isn't what you came here to tell me, he says. I came to pay my respects, says Ang--to the widow. This gives Barnabas pause--the widow? Yes, we've been looking for Carolyn all day, says Ang, no one seems to know where she went.  Barnabas darts at Angelique, eyes blazing. He grabs her by the arms and yanks her from her seat. "What have you done to Will Loomis?" he demands. I had absolutely nothing to do with his death, she insists. You expect me to believe that? he asks. I don't care what you believe, she says, but consider yourself fortunate, because under the circumstances, I can't tell the family who IS responsible! They glare at each other. And who is? he says. You, she tells him. You're insane! he shoots back. "I was with him when he died," she says," he jumped from the tower at Collinwood--he chose to do that, rather than to reveal your secret!"  I can't believe Will jumped from the tower, says Barnabas.Yes, she says, so the power you held over him is the reason he died. Barnabas walks away from her and says, "I think you'd better leave here." Oh, I intend to, she says, but I just want to tell you one thing--I very nearly found out your secret from Will before he died, and his death has made me all the more determined to find out who--or what--you are! GET OUT! he says, his voice steely. "I'll see you at the funeral, Mr. Collins," she says, and stalks out.

Later, secret room - Roxanne lies on her bed, a strap encircling her forehead. Julia prepares an injection. Did Will really did jump from the tower? asks Barnabas. Yes replies Julia, I got there too late to save him, or stop him. She was right, says Barnabas sadly--in a way I was responsible for him being killed. No you weren't, insists Julia, I'm sure Angelique wouldn't have let him live--he knew too much. We must make her helpless, says Barn, it's the only way we'll be able to move freely. I'm hoping that the combination of the mild shock treatments and injection will bring her to some vitality, says Julia, and while we won't have further trouble with Angelique, there's still Stokes. She injects Roxanne with the hypo. That will be no problem, says Barn--he's easier to deal with. Julia puts away the hypo, then pulls up levers on an electrical contraption that had to be left over from the Adam storyline (was a monster created in PT, too)? She fiddles with some levers; we see a gyroscope. How soon will we know? asks Barn. Soon, says Julia, I told Angelique I'd only be gone for an hour--I aroused her suspicions enough today, I must not do it again. The power shoots through Roxanne as Barnabas watches anxiously. Nothing appears to have happened.  It isn't working, he says, disappointed. I know, she says, turning off the juice--we can try again later.  Julia removes the strap from Roxanne's head, adding, there might be some changes in her, so you should stay with her tonight. They bid each other good night.  Julia leaves. Alone with Roxanne, Barnabas asks the young woman, was I wrong to bring you here?--were my motives for bringing you to life again false?--why am I so obsessed with the idea of your opening your eyes, looking at me, speaking to me--is it only for the experiment?--is there some way I can reach you? He caresses her cheek.  She opens her eyes.

Angelique, walking downstairs at Collinwood, feels faint.

Barnabas, delighted to see the redhead has regained consciousness, lifts her head. Stand up, he urges, I'll help you. She does, gazing at him, smiling softly.
Angelique screams and falls to the floor in the foyer, unconscious.

NOTES: Amazing performances from Karlen and Parker in those riveting tower room scenes! The way Karlen conveyed Will's being caught between his loyalty to Barnabas and his lust for Angelique, his desperation to make her go away, was outstanding, and she was very closely behind him in presenting an amazing performance. I remember being stunned at Will's death, yet another so close to the others.  Great job.

Barnabas IS to blame for this, although Angelique much more so. Will couldn't betray Barnabas, and it simply tore him apart not to reveal the truth to a woman with whom he'd apparently had a passionate relationship. Poor Will deserved better--from both of his tormentors.

Wonderful scene between Barnabas and Angelique. Surely she knew this was the first Barnabas would hear about Will's death, and she seemed to delight in upsetting him, lording it over him, and, of course, blaming him. She accuses him, he accuses her, and the truth is, if one of them had been left out of this equation, Will would never have died. I didn't think he jumped, though, looked to me like he got to far out the window and fell. Did seeing Julia standing there--yet another secret he was carrying--induce Will to throw himself out the window?--or was he simply so startled, he fell?  What do you think?

Barnabas knows darn well what his motives are for bringing Roxanne back to life--he's got the hots for the cones gal, and that's his real motivation. She is pretty, IMHO, but what has she done for Barnabas lately? Julia is really jumping into the stew now; she's given Angelique SO many hints that she isn't the Hoffman she has always known, and Ang is too intelligent not to realize it.

RIP, Will, along with Sabrina, Bruno, Cyrus/Yaeger and?

Oh, wait until Carolyn comes home and hears what happened to her husband!

Love, Robin

1040 - Louis Edmonds does a scary intro, his voice delicious.

Bruno hangs up the phone. Was that wise? asks Angelique.  Perhaps I'm not interested in being wise, he retorts. I told you, she says, there's no proof in that journal against Quentin; it's simply the opinion of a dead man. Do you want to find your sister's murderer or not? he asks. Of course I do, she says, but I wonder if YOU do. Why would I call the police if I didn't? he asks. All the police will do, she says, is ask Quentin a lot of embarrassing questions. It's going to be a bit more than embarrassing, vows Bruno, because the police will REALLY investigate, like you said you would and never did. And you're convinced that this investigation will prove that Quentin is the murderer, she says. I'm depending on it, he assures her. You see, she says, you don't really want to find who Angelique's murderer is, you simply want to destroy Quentin--it's revenge, not justice, you want. He takes a cigarette from his case and says "Precisely." I can't understand why anyone would ever want to destroy Quentin, she says. My answer wouldn't be fit for a lady's ears, he says. If you're such a gentleman as all that, she says, why don't you offer me a drink?  Delighted, he says--does that mean you don't completely disapprove of what I've done? While he prepares her drink, his back is to her, she picks up a blue tie belonging to him, and says, I neither approve nor disapprove, I simply thinks you're wasting your time. Is that what you really think? asks Bruno, handing her a drink. Would I say so if it weren't? she counters. I don't know, he says, I get a very strange feeling from you this evening--you seem very aloof, yet very much involved, as if you knew exactly what you were going to do every second of the time. She sips her drink and says, I try to remain as unemotional as possible. Maybe I'm confusing you with Angelique again, he suggests--you know, she was able to do that, be seemingly very cool and distant, yet at the same time, manipulating the rest of us, as if we were puppets. That was Angelique, she says, I'm much different, remember?  So you say, he says, but then there are times when... I hope you're not going to say the obvious, she says. No, he responds. You know the reason you could never hope to compete with Angelique, she says--she was always far more fascinating, intelligent... I think you admire her almost as much as the rest of us did, comments Bruno. Perhaps even more, she says, yes, much, much more. She sips her drink.

9:30 - Collinwood - Roger exits the drawing room and is about to go upstairs when Quentin comes in. Ah, the wanderer returns! quips Roger grandly.  I don't need any of your comments, snaps Quentin. It's a pity you chose one of the more interesting nights in this dreary house to exercise your habit of dashing out into the night, says Roger--you might have been amused--then again, you might not have been amused. What about? demands Quentin impatiently. Your lodger from the nearby cottage paid a neighborly call this evening, says a grinning Roger. Bruno--what did he want? asks Quentin. "To make love to your wife--unless I'm mistaken," reveals Roger with obvious pleasure--of course he was roundly rebuked by the "good" Mrs. Maggie Collins. Are you making this up? asks Quentin in a dangerously soft voice. You credit me with imagination far beyond my modest scope, says Roger.  Where's Maggie now? asks Quentin. Upstairs, says Roger, probably devising a new method of maddening you so you can dash out of the house again. Did it ever occur to you that you are not very funny? asks Quentin, irritated. No, says Roger, it hadn't--by the way, Bruno made his inevitable threat that the stones of our beloved Collinwood would soon be crashing down around our heads, so perhaps the activities of the evening have only just begun. Roger, having lit the match, heads upstairs. Quentin goes into the drawing room and stands by the fire.

Bruno plays Angelique's theme, looking peaceful and pleased with himself. There's a knock at the door.  Come in! calls Bruno.  It's Inspector Hamilton, who says, "I believe you wish to report a murder." In a moment, says Bruno--it would be a sacrilege to interrupt a beautiful piece of music like this--I wrote it myself--it's called "Ode to Angelique"--do you like it?--perhaps you know the lady who inspired it--the late Angelique Collins? I should warn you that I don't enjoy playing games, says Hamilton. Nor do I, Bruno assures him--that last question was very serious--did you know the late Angelique Stokes Collins? Slightly, everyone in Collinsport did, answers the Inspector--why?  It's her murder I want to report, says Bruno. Mrs. Collins died of a stroke, says Hamilton. According to whom? asks Bruno. If I remember, it was Dr. Longworth who signed the death certificate, says Hamilton. Ah, yes, Dr. Longworth--interesting fellow, wasn't he? asks Bruno--apparently a little more complex than the rest of us suspected. He chuckles. Would you mind getting to the point? asks Hamilton. Of course not, says Bruno, who holds up the copy of the page from the late, lamented Cyrus' journal--I believe it comes directly to the point.  He returns to playing Angelique's music while the Inspector reads--do you find it incredible? asks Bruno. Very, says Hamilton.  Bruno laughs--I don't mean the journal, he says, I mean my music. Hamilton looks at him with an ugly, annoyed expression on his face, and reads the page again.

Collinwood - Maggie comes downstairs and finds Quentin in the drawing room. Roger told me you were back, she says. Yes, he says, sounding distant--what about this nonsense with Bruno this evening? Nothing but a drunken, stupid incident, she reports--Quentin, we have far more important things to talk about. According to Roger, says Quentin, Bruno was very rude to you--is that true? Before you left this evening, she reminds him, you made a very serious accusation.  I don't want to talk about that, insists Quentin. "Do you really think I indulge in witchcraft? she demands. Unresponsive, he just looks at her. Do you?--answer me, she commands. Turning his back, he orders, answer the knock at the door. She does--it's Hamilton, who bids her good evening and asks for Quentin. Quentin identifies himself.  Hamilton comes in, apologizing for the inconvenience--can you spare a few moments? I'm afraid I can't, says Quentin rudely. Then I'm afraid I must insists, says the Inspector--you see, I have some very important questions to ask about the death of the first Mrs. Collins. Quentin and Maggie exchange glances.

The trio stands in the drawing room.  Mr. Collins, says Hamilton, if you want you attorney present... MY attorney? asks Quentin, why? To instruct you as to whether or not you should answer the questions I'm going to ask you, says Hamilton.  Will charges be made? asks Maggie.  I'm here for clarification of a few facts that have just come to my attention, explains the Inspector. Concerning? asks Quentin. The circumstances surrounding your first wife's death, says Hamilton.  Angelique died of a stroke, says Quentin--Dr. Longworth signed the certificate. I know, says Hamilton--you were a very close friend of Dr. Longworth's, weren't you, I mean before the recent... Yes, interrupts Quentin, he was my best friend, as a matter of fact, why do you ask? Could you verify a sample of Dr. Longworth's handwriting? asks Hamilton, holding up the copy of the incriminating page Bruno gave him. Of course, says Quentin. Do you recognize this? Hamilton asks, holding it out (white writing on back paper). Yes, says Quentin. Perhaps you'd care to read it, suggests Hamilton, it's a Photostat of a page from his journal. Thank you, says Quentin, taking the paper. He reads it, frowning, walking, then stops. The hand holding the page drops to his side. What is it? asks Maggie. Cyrus says that he falsified the death certificate, answers Quentin--Angelique was murdered. From the doorway, Roger repeats, "Murdered?"  Mr. Roger Collins? queries Hamilton. Yes, says Roger, what sort of nonsense was this?  He even gives the method of murder, says Quentin--a hat pin stuck in the base of the skull, causing instant death. NO! blurts out Maggie. Did he name who the murderer was? asks Roger. In a way, yes, says Quentin. Who? asks Roger (doesn't he look weird)? He admits it's his own opinion, says Quentin, but he feels that, nevertheless, it's a very good one. Quentin, says Maggie--who was it?  "Me, of course," says Quentin with a crooked smile. That's not possible, she protests. Hamilton takes back the paper and says, if you will all excuse me, I'd like to ask a few questions about the seance during which the death took place. Absurd! pronounces Roger, proceeding on the opinion of a dead man and one who proved to be less than perfect in the end!  All I want is a few facts, says the Inspector to Roger--you were at the seance, weren't you? Yes, I was, answers Roger, why? Then perhaps after I talk to Mrs. Collins' husband, you'll permit me to ask YOU a few questions, as well, says the Inspector.  Before Roger can answer, Maggie says, please, allow me to speak with my husband alone. Hamilton suggests to Roger, the two of us can go into the foyer. Certainly, says Roger. Left alone, Maggie asks Quentin, should you call Chris or one of his partners to...  Why? asks Quentin abruptly. To advise you, says Maggie, before you say anything.  Why should I need advice? he demands. Because... she begins.  He fills in the blank himself--because you believe I murdered Angelique. No, she says, I didn't say that. If I'm innocent, he asks, why should I need legal advice before answering any questions? I just don't want anything to happen to you, she responds, her voice trembling. Are you sure that's the reason? he asks--this isn't the first time you've considered the possibility of my having murdered Angelique. I never thought you did and I don't now, she insists, tears in her voice at his cruel accusation. He walks past her and pulls opens the double doors--Inspector, he says, I'll be more than happy to answer any questions you might have. Hamilton and Roger enter the drawing room, as does Angelique. "Oh, we have a visitor!" she says, smiling. Quentin introduces her to Hamilton as Alexis, Angelique's twin sister. No need to tell me that--the resemblance is remarkable, says Hamilton. The Inspector is here to ask me some questions regarding Angelique's death, explains Quentin. Looking stricken, Alexis says, "I see."  Of course you won't be questioned, says Roger--you weren't here at the time of the seance. However, says Hamilton, there might be a few things I might like to speak to Miss Stokes about. She knows nothing about any of this, insists Quentin. That's not quite true, is it, Miss Stokes? asks Hamilton. I don't know what you mean, she says. He holds out the Photostat and asks, do you recognize this?  She glances it over--where did you get it? she asks. Where I got it isn't important, says Hamilton-- what is important is that you, Miss Stokes, have the original journal from which it was taken--am I right? She stares at him, trembling.  Quentin's eyes narrow as he looks at her.

Yes, admits Angelique, I have Cyrus' journal. Why didn't you tell anyone? asks Quentin. Because I know that none of what Cyrus said was true, she replies. Do you consider yourself the best judge of that? asks Hamilton. In this case, yes, she says, because I am positive that Quentin could never have murdered Angelique. On what do you base this assumption? the Inspector asks. Because Quentin loved her more than anything in the world, and she loved him, says Angelique. Hearing this, Maggie gives a little start.  Angelique continues--there were never two people who loved each other more--tell him, Quentin that what I say is true!  I'm more interested in knowing how you got hold of this journal, says Quentin--certainly Cyrus didn't give it to you.  I'm  not sure I want to tell you, says Ang. I want to know very much where you got it and how, says Quentin angrily. She looks at him, turns away, doesn't answer. Hamilton reveals to Quentin, a Photostat of that page was given to me by Bruno Hess--it was he who called the police. Roger listens intently. Bruno, says Quentin as if it's a dirty word--I should have known he had a hand in this. Cyrus left the journal with him, says Ang, I bought it hoping to keep it secret.He's only out to cause trouble, says Quentin--well he won't be causing trouble much longer. Mr. Collins, I don't think there's that much cause for excitement, says Hamilton.  Angelique smiles slightly. You don't know how much I've had to take from that man, says Quentin, barely controlling his anger--Inspector, I'm sorry, but I won't answer questions of anyone sent to this house by Mr. Hess. It would be better to get this over with now, Maggie advises Quentin.  I'd like to get it over with, all right, threatens Quentin--with Bruno and my bare hands!  It's all my fault, laments Angelique, Inspector, would you mind if I spoke to Quentin alone?  She leads Quentin into the foyer and says, there's no reason for you to be so angry, Bruno isn't worth it!  She closes the double doors on the other three and privately tells Quentin, it would all be over with in just a moment if you would just answer the Inspector's questions--you have nothing to fear, I'm sure of that--Bruno only wanted to cause you trouble--I'm sure he's sitting at home having a good laugh, knowing how angry you must be. He won't be laughing much longer, says Quentin, who bolts for the door.  "Quentin, no--don't!" Angelique insists, but he's gone. Angelique closes the door and grins, very proud of herself. She goes upstairs.

Drawing room - What a volatile man your husband is, Hamilton remarks to Maggie.  Sometimes, she admits. Roger adds, the subject of Bruno is particularly goading to him--for reasons I won't go into now.  Maggie shoots Roger a look of disgust and fury, then opens the double doors--Quentin, the Inspector is...  No one is there.  Where did they go? asks Hamilton. I don't know, says Maggie, unless he's gone up to the bedroom--I'll go see. Tell him, says Hamilton, that I'm very anxious to speak to him. Yes, of course, says Maggie, and hurries upstairs. Quentin may have headed for Bruno's cottage, suggests Roger. I certainly hope not, says Hamilton, but since I have a few more things to discuss with Mr. Hess, I had better take another look. I don't think that would be a bad idea, says Roger calculatingly--not a bad idea at all.

Cottage - Bruno, where did you get a copy of that journal, demands Quentin--you stole it, didn't you? I hardly think that you're in a position...begins Bruno.  Quentin grabs his arm and whirls him around, warning, you aren't going to get away with it this time. He forces the struggling Bruno into a headlock and orders, you're going to leave this house--tonight!--you hear that?--tonight!  He tightens his grip on Bruno's throat. Stop it! chokes out Bruno. Quentin gives him a push--"You're not worth killing!" he declares.  Bruno, nursing his throat, abruptly begins to choke in earnest, even though Quentin is no where near him. He pulls at some invisible force applying pressure to his throat, gasping, "Please, I can't breathe!"  (then how come you're talking?)
We see a statue (Beethoven?) from Bruno's cottage; tied around its throat is Bruno's stolen tie.  Angelique is strangling the statue, tightening brutally.  Bruno falls to the floor. Quentin laughs at what he perceives to be an act on Bruno's part; when the pianist falls to the floor, he applauds. "Very dramatic!" pronounces Quentin, "Now suppose you get up and take a bow."  Receiving no response, he kneels and asks, what's the matter, Bruno?  Realizing something is very wrong, he grabs Bruno's lapels, shakes him, calls his name. Inspector Hamilton enters the cottage at that very moment."Mr. Collins," says Hamilton, "I hope for your sake that he isn't dead."

NOTES: I like Inspector Hamilton, he's cool, and one of the few cops on DS who actually seemed to know what he was doing. This actor does a nice job.

So, Angelique's plot is to have Quentin arrested for Bruno's murder, since there's no proof he's responsible for her own. Rather mundane--but how does she expect to get him back then? Does she even want him back, or have her original plans changed? And was it my imagination, or was Roger just a tad too interested (and nervous) in learning who Cyrus fingered as responsible for Angelique's murder?

As always, Roger is droll and nasty, a fun character to watch interact with others. Does he have a dark secret?

Angelique not only kills strangers, she is willing to murder former lovers to get what she wants. How cold she is! We can safely assume she and Bruno got naked together on more than one occasion, so her callous attitude toward him is really chilling. At least if she'd done away with him in her conventional manner, via the hug and kiss of death, he would have had something nice to remember her by in the afterlife.  Now she's murdered him and perfectly framed Quentin. Such a bitch!

Quentin blundered into this one, and it was all engineered beautifully by Angelique. She fired him up and sent him running to Bruno, and Roger helped it along by suggesting Hamilton go to Bruno's cottage--and voila, the Inspector has caught Quentin apparently strangling a man who had made a recent pass at his wife and was trying to frame HIM for murder.

This is actually pretty good, but once again, Angelique's motives are murky. Apparently she believes Quentin DID kill her, but if he purportedly loved her as much as she claims, why would he do such a thing?  And why would she suspect him, if things were that great between them?


1041 - The dummy portraying Bruno wavers as Quentin kneels beside it. Inspector Hamilton says, I hope, for your sake, that he isn't dead.

Quentin gazes up at the Inspector and rises to his feet. Is the man going to be all right? asks Hamilton. I don't know, answers Quentin. Suppose we find out, says the cop, kneeling to check the body.  Standing, Hamilton says, "He's dead, Mr. Collins."  He can't be, says Quentin. But he is, says Hamilton--now suppose you tell me what happened. I don't know, says Quentin--I mean, I can't understand. You mean you found him like this when you arrived? asks the Inspector. No, says Quentin. He was alive, suggests the inspector, and you quarreled with him and killed him. NO! says Quentin. How did he die? asks Hamilton. I don't know how he died, says Quentin, shaken, he just suddenly began to choke, I thought it was an act. A man doesn't suddenly begin to choke to death for no reason at all, says Hamilton. Listen to me, says Quentin, I'm telling you that I did not kill this man. Perhaps you didn't, says the Inspector, but the fact is, Mr. Bruno Hess is dead, isn't he, and the further fact is, that when I talked to him earlier this evening, he seemed in excellent health. Quentin tries to speak, but Hamilton goes on, "And while we're dealing with facts, Mr. Collins, you were, in fact, angry enough to kill him with your bare hands, you said so yourself."  Quentin admits, I was angry, but I'm not responsible for this man's death, that's all I can tell you. That's not enough, says Hamilton. Listen to me! says Quentin. I advise you to listen to me, says Hamilton, I'm placing you under arrest--the charge is suspicion of murder--it is my duty to tell you that from this moment on, anything you say may be used against you--if you wish, you may call your attorney. You can bet I want to call him, says Quentin, and picks up the phone.  I derive no pleasure from having to do this, says the Inspector--I appreciate your position in this matter, and hope, for your sake, that I'm wrong.

Angelique enters Maggie's room, opens the top drawer of the dresser and leaves the ascot-wrapped statue there. She grins and leaves the room.

Drawing room - I can't believe you're arresting Quentin on suspicion of murder, Inspector, says Maggie. It's all right, says Quentin--I've talked to my lawyer and they're working on my release. If your husband is innocent, says Hamilton, there's nothing to worry about. Quentin, I don't know what to do or say to help, says Maggie, upset. There's nothing you or anyone else can do until we determine how Bruno died, says Quentin. From the doorway, Angelique gasps--Bruno's dead? I'm afraid so, says Hamilton. I don't believe it, how did it happen? asks Ang. That's what we intend to find out when we question Mr. Collins, says Hamilton. The Inspector thinks I did it, says Quentin. Angelique feigns surprise--oh, no! The charge is only suspicion of murder, Hamilton reminds Quentin, I haven't stated flatly that you did it, because I don't know, but I did discover you standing over the body. "I don't believe that Quentin could have murdered anyone!" says Angelique defiantly. I sincerely hope you're right, says the Inspector--I must admit, his position is rather shaky. Angelique walks to the other side of the room. Shall we be going? asks Hamilton. May I have one last request before I go? inquires Quentin. Depends on what it is, says the Inspector. I'd like to take some things with me, says Q, if I'm going to be the guest of State overnight. Maggie looks stricken. I'd like to go up to my room, adds Quentin. By all means, but I'll have to accompany you, says Hamilton--you do understand. Of course, says Quentin, do you want to handcuff me?  I assume, or hope, there's no reason why you should try to escape. Says Hamilton. Quentin slips his hand briefly in Maggie's and says, I'll be down in a few minutes. Maggie looks ill.  I'm so sorry, Maggie, says Angelique.  I just wish I'd known he intended to go to the cottage, says Maggie--Quentin was in no shape to face Bruno. You don't believe Quentin really did kill Bruno? asks Ang--do you?  I don't know, says Maggie--Hamilton says Bruno was alive when he got to the cottage, now he's dead.--it does look very bad for Quentin. Angelique grins.

Upstairs, Quentin assures Hamilton, I'll only be a minute. The cop says he has plenty of time. Quentin grabs a suitcase from under the bed, then goes to the dresser and starts gathering grooming supplies. Is there nothing else you'd like to tell me? asks Hamilton--it might be some help to us later on.Quentin pulls open the drawer and finds Angelique's little gift. He holds it up. Hamilton again asks, "What about it, Mr. Collins?"  Quentin puts the evidence back in the drawer, turns, and says curtly, "No, I have nothing more to say--and even if I did, I'm quite sure you wouldn't believe a word of it."

Quentin, followed by Hamilton, heads downstairs. Quentin looks at Maggie for a long moment.Daniel will want to know where you've gone, says Maggie. Yes, I suppose he will, says Quentin evenly. What will I tell him? she asks. That I've been called away on business, replies Quentin. (and the newspapers won't be full of this for the child to read?)  All right, I will, she says--why are you looking at me that way?  Just wondering what you think about all this, he says.  I don't know, she admits--it's all happened so suddenly. Suddenly?--I don't think so, he says. What do you mean? she asks. I'm not sure I know what I mean, says Quentin, as the Inspector listens closely--I want to think about a lot of things. Yes, she agrees distantly, that's how I feel, too. I'm ready when you are, Inspector, says Quentin.  The two men leave. Quentin looks back at the very unhappy Maggie one more time.

Outside, Hamilton points out to Quentin, you asked your wife what she really thought of this, and what an odd comment that was--the implication was that she might think you guilty--do you believe she does? Why don't you ask her? suggests Quentin. Perhaps I shall, says the Inspector, and they leave.

Police station - Barnabas is gazing through the glass jar of a water cooler when Quentin enters and asks, who told you I was here?  Maggie, of course, says Barn. Oh, chuckles Quentin bitterly. You look as if that surprises you, says Barnabas. Nothing surprises me anymore, says Quentin. If there's anything I can do, any way I can help, offers Barnabas.  No, Quentin assures him, the lawyers are taking care of everything, arranging bail for me in the morning. That won't be the end of it, says Barnabas, there's still the matter of proving your innocence. Do you think me  innocent? asks Quentin. Don't be absurd, says Barnabas--of course I do. You must have a lot of faith in me, says Quentin, because the Inspector has a good case against me--when he got to the cottage, Bruno was alive; when the Inspector arrived, Bruno was dead, and I was standing over the body. Have you any idea what killed Bruno? asks Barnabas. Yes, says Quentin, I think I found the murder weapon just before I left the house--Bruno was killed by witchcraft--I found a small voodoo doll, around the doll's neck was a scarf (?) that belonged to Bruno--someone choked him to death from a distance, someone who knew I'd be with him at that time. Where did you find these things? asks Barn. In my wife's dresser, reveals Quentin. Barnabas, shocked, can only muster up one word--"Maggie." Obviously, we have been wrong about my dear little wife, says Quentin. Barnabas looks at him, stands, and says, if you think for a moment Maggie could be capable of killing someone. . ..I'm ready to believe anything, answers Quentin--Barnabas, you seem to forget this is the third time I have found evidence of witchcraft in that house--and each time, it was linked to Maggie. Quentin! says Barnabas, Maggie is not a witch, she loves you very much--now, are your lawyers sure they can get you out of here by morning? Yes, says Quentin. I'm going to be out of town all day tomorrow, says Barnabas, but I want to see you in the evening--if we work together, we will be able to prove who killed Bruno and who has been wrecking your marriage. All right, agrees Quentin, I'll be at Collinwood all day and night tomorrow--I'll see you at your convenience. Hamilton enters--the coroner has finished the autopsy on Bruno, says the Inspector, I will have his report within the hour. Quentin and Barnabas exchange glances of concern.

Collinwood - Our course was clear, Barnabas, rants Julia--if we had destroyed the body we found at Stokes' cottage, then Angelique would have been destroyed, too, and none of this would have happened--and Quentin wouldn't be in jail now because Bruno would still be alive!  She's so annoyed with Barn, she actually stamps her foot. Barnabas agrees that "we" (what's this we stuff?) were wrong, but there's no point in going over that now. I know, says Julia, but if we destroy the body now, we'll be destroying the actual murderer. And signing Quentin's death warrant, agrees Barnabas. What are we going to do? asks Julia.  Ironically enough, says Barn, we can't let anything happen to Alexis if we are to prove she killed Bruno, we must keep her alive--I know it's a risk for you, he says, moving in very close, but I want you to stay with her as often as you can and keep me informed about her plans. Julia nods, looking scared.

Angelique goes to Maggie's room and asks, have you heard anything from the lawyers?  Not yet, says Maggie. I wouldn't worry if I were you, says Alexis, they're sure to have Quentin home, tomorrow at the latest. Strange as it may sound, says Maggie, i'd rather it took even longer. Maggie, what are you saying? the other woman asks. I need time to think, insists Maggie, Cyrus was Quentin's best friend, even Cyrus thought Quentin killed Angelique. You think is that Cyrus is mistaken, insists Angelique--Maggie, even though we know Quentin has a bad temper, prone to jealousy, we also know he loved Angelique, never would have killed her--why if he did that. . . she walks away.  Maggie asks, "He could what?" Nothing, says Angelique. You were going to say he'd be capable of killing again! accuses Maggie, weren't you? No I wasn't, says Ang, let's just drop the subject--we must both have faith in Quentin, and must be true to that faith. She grins.

Police station - Quentin gazes out the window and paces. Hamilton enters.  What did the coroner have to say? asks Quentin  Bruno Hess died of strangulation, reveals the Inspector, there were marks on his neck indicating where you placed your two hands. (wouldn't fingers leave different marks than a ascot?)  Quentin says, "Inspector, I did NOT kill that man!" There was no other person in the room with him--you are the only possible suspect, says Hamilton--you are no longer being held on suspicion--the charge is now murder, in the first degree. I want to talk to my lawyer, insists Quentin. If it's about bail, says Hamilton, I can save you the trouble--in view of the new charge, Judge McDonald has refused to grant bail--it appears you're going to be with us for a while, Mr. Collins. Quentin looks unhappy and pissed off.

I want to talk to my lawyer, anyway, insists Quentin--I have that right. So you do, agrees Hamilton, and you may in just a moment, but first, there's something else you ought to know. You're just full of information, aren't you? asks Quentin, sitting down. Part of my job, says Hamilton--in light of this evening's events, we now think it practical to reinvestigate the circumstances of the death of your first wife--we now tend to believe what Dr. Longworth wrote in his journal, but of course, the only way we can verify his opinion is to have your first wife's body exhumed. (Uh oh!) Exhumed? repeats Quentin--you can't do that. I'm afraid we can, Mr. Collins, says Hamilton. I won't allow it, asserts Quentin. Your consent is not required, says Hamilton--it will be done with a court order--that does seem to trouble you--perhaps you're afraid of what we will find. Quentin's face seems to crumple, for he knows damn well there is no body to exhume.

On the phone, Maggie thanks someone for calling, then hangs up, very upset. Barnabas enters.  The lawyers just called to tell me bail had been denied, she says. This stuns Barnabas. The charge has been changed to murder in the first degree, adds Maggie. Barnabas gently asks, do you believe he's guilty?  Maggie says uncomfortably, I don't know. You can't afford to have doubts at a time like this, insists Barn--do the police have the journal now?  Yes, she says, Alexis gave it to them. Alexis? asks Barn. She apparently bought the journal from Bruno, says Maggie, and intended to keep it quiet, but Bruno made a photostatic copy of it and that's what he showed the police. She intended to keep that journal quiet? asks Barnabas. Yes, says Maggie, she didn't believe any part of it was accurate and tried to protect Quentin, just the same as Cyrus tried to protect him the night Angelique died--I just wish that I had as much faith in Quentin as she seems to have!  Quentin is innocent, insists Barn, and we can help him as long as Quentin cooperates with the authorities and doesn't panic. Maggie, unable to reply, turns away from him.

Police station - Angelique asks Quentin, are you sure there's nothing the lawyers can do?   Positive, he says, the judge had a perfect right to refuse bail during a murder case. She looks disappointed. The denial of bail isn't what bothers me, says Quentin, it's their decision to exhume Angelique's body, Yes, I know, she says. What are we going to do when they discover there is no body to exhume?  We will answer an awful lot of questions, she responds. Which we can't afford to answer, says Quentin--if I tell them Cyrus and I destroyed the body, they're going to demand to know why--this whole situation is hopeless. No, she says, it's only hopeless as long as you're here in this jail--you must get out of here, it's the only way to prove your innocence. I've tried to get out, I can't, he reminds her. There is one other way, she says. Escape? he asks. Yes, she says. Please don't be absurd, he says. I know what you told me about finding the doll and ascot in Maggie's drawer, but she's being used, just as you are--there's some kind of a vicious plot against you, and you're both pawns in that plot--you've got to get out of here, and there's only one way to find out who's behind this and clear your own name--you must be free, Quentin, free to solve Bruno's murder as well as Angelique's--it's the only way--and I am willing to do everything I can to help you.

On the phone at his desk, Hamilton admonishes, I don't want Judge McDonald troubled again tonight--this can wait until morning--how long will it take to get orders to exhume the body?--good, I want to make all the necessary arrangements at the cemetery. Angelique's scream fills his world. "I'll call you back," says Hamilton, and races toward the other room. "Come in here!" Angelique screeches. As soon as Hamilton enters the room, Quentin leaps from the bench on which he's been standing and karate chops the Inspector, sending him to the floor, unconscious.Quentin leaves the police station. Angelique surveys the Inspector's unmoving body.

NOTES: Okay! So now Angelique has encouraged Quentin to escape jail, making him a fugitive who will be sought by the police--open to being killed. Again, what's her motivation--to have him shot dead by the cops? What does she want, exactly? Good job, Ang! Foolish man, Quentin! Don't listen to her, she means you evil! EEEEVIL!

Angelique did a wonderful job of making Quentin look guilty, and now she's doing a great job of making Maggie look guilty in Quentin's eyes. Aside from making it appear she's still friend to both of them, why is she assuring each of them that she believes the are both pawns in someone else's scheme? Is she trying to shed guilt on another, perhaps Barnabas?

One wishes that at this critical juncture (and since he didn't dispose of Roxanne when he has the chance) that Barnabas would simply tell both Quentin and Maggie that Alexis/Angelique is behind this entire thing.  At this point, however, it might be too late. Julia is right to be annoyed at Barn, to even stamp her foot in anger, because Barnabas' thinking with his loins is causing a serious, possibly deadly, ripple effect.

What is going to happen to these hapless PT players?

Love, Robin