1113 - I am waiting, warns Gerard. What right have you to question me? demands Julia. Would you prefer Gabriel do it? he asks--he was the one who found the earring and is as interested in it as I am--Daniel Collins says there was a woman in the room the night the earring was found--was it you? I arrived this evening, says Julia haughtily, and you know that--I'm not accustomed to strangers doubting my word. When Gabriel showed me this, says Gerard, holding up the earring, I had a feeling that it belonged to a woman who did not dress as a woman ought to. Julia gazes at him, asking, drolly, "You're a psychic, too?" Not professionally, he says. Whatever your interests, she says, I can answer the questions about the earring very easily. He looks at her, waiting. It was on the bureau when I went into the room, she says. No one has been in that room in all the time I've been here, he says, and that's been several months. I meant to call it to Mrs. Collins' attention, grins Julia, but you can do that now--there's no way of telling how long it's been there, is there? No, there isn't, he admits, beaten. Well, I'm afraid you'll have to solve the little mystery yourself, she teases. We will solve it--and soon, he promises. Ben joins them. I've been hoping to see you, says Julia, I want to hear more stories about Father when he was young--my brother and I used to listen to how Collinwood was then. If you'll excuse me, says Gerard. You would be fascinated with the family stories, says Julia. I'm afraid I'm only interested in the living, says Gerard, and heads upstairs.
Drawing room - Ben, says Julia, Gerard suspects something--I lost an earring and Gabriel found it. We've got enough troubles without him, says Ben--I've looked everywhere for Mr. Barnabas, but can't find his coffin. We've got to find it before it's too late, says Julia. There were attacks in the village last night, says Ben, they got everybody all riled up--Mr. Pettibone asked me this morning if I remember other people being attacked in the same way--he figured they happened around 1797 (hmmm)--he was right, I never thought I'd see it happen again, after Mr. Barnabas' father and I chained him in his coffin. I wish we could talk to Barnabas, says Julia. There's one place he'd be sure to go, says Ben. We'll go there, too, she says. Not you, just me, he says, it's our only chance--I think he'll listen to me...there.
Old House - Josette's room, where the furniture has been covered. We hear Josette's music box theme playing. Barnabas enters the room and gazes up at her portrait--how I've longed to see your face again, he says--I will never forget, but now I'm free again, I must begin a new life--forgive me--I had to say goodbye. He lifts the portrait off the mantle and puts it, face down, against the fireplace. He turns, startled to find Ben there.
Barnabas and Ben stare at each other. You know me well, says Barnabas. Well enough to know you'd come here, says Ben. For the last time, says Barnabas. What does that mean? asks Ben. Josette can never be mine, says Barn, I will make an existence without her. You hated your life before! Ben reminds him. I will no longer condemn myself to that coffin, insists Barnabas. You've got to, says Ben. You've served me well, says Barnabas gently, but you cannot understand the eternal darkness of that tomb--I will not involve you this time as I did before--I will take whatever chances I must--alone. You must not, says Ben, you must talk to that Julia, she's from the future, from 1970. What an incredible story, says Barnabas, I do not have your naivete. She can help you, says Ben. No one can help me, says Barnabas. You'll be caught, warns Ben, I feel it. How, Ben? asks Barnabas--since I still exist in the year 1970? She explained it to me, says Ben--you were released from your coffin in 1967, she changed the course of history when she let you escape last night--you're not safe. The word safe has no meaning for me, says Barnabas softly, and leaves the room. (This scene was really special. The relationship between these two is one of long-standing respect and yes, love. Ben knows Barnabas is a killer, yet still fears for his safety. Barnabas couldn't care less. How will this affect the 1970 Barnabas and his attempts to get to the past)?
Gerard accepts a note delivered from Flora at Rose Cottage. He holds it up to his head Kreskin-style--Leticia, should I tell you what is in it? he asks--"Please, Gerard, come and see me as soon as you can." Bursting into laughter, Leticia, who speaks with a Cockney accent (much like Pansy Faye), says, you are psychic. He opens the note--I've learned to recognize that peculiar look she gets in her eye whenever she wants to see me, he says. Leticia takes the note and sighs. A real heart-breaker, as I should know, she says tellingly. I would never break your heart, he promises. Maybe that's what I'm afraid of, she says seriously, then giggles again--you've paid very little attention to me since I came here. I've made a brand-new life for you, he reminds her--new luxury, no more cheap music halls, or bums asking you to read their minds, no more singing and dancing in those putrid... She interrupts--sometimes I miss it, she confesses--you just gave me to that Flora like I was a present of some kind--I've got to talk to her all the time!--about my life--she writes it all down! You're going to be very famous, says Gerard, you're going to be in a book.
She smiles, pleased--no, luv, she says, you know there are some thing about my life a lady shouldn't even talk about (she begins to caress his face in a most familiar way) much less read. He pushes her hands away--there is money here, he says sternly, money just waiting, and we aren't leaving here until we get it. Let's just make sure we leave here together, please, luv, she whispers. Julia enters, apologizing for interrupting them. No need to apologize, he says, and introduces Julia to Leticia. Do you want a ride back to Rose Cottage? asks Gerard. I promised to start Samantha's horoscope, says Leticia. Do you do horoscopes? asks Julia. As a favor, says Leticia. Miss Faye is a professional psychic, says Gerard--unlike myself, she can read the future--excuse me. Leticia is dressed in fancy pink with a maroon boa draped over her arms. Tell Flora I won't be late! Leticia calls after the departing Gerard. He leaves. Do you live at Collinwood? asks Julia. No, brags Leticia, with Mrs. Flora Collins at Rose Cottage--the novelist. Julia smiles--can you really see the future? she asks. Yes, says Leticia, some people don't believe I can, but they find out it's true. That's fascinating, remarks Julia--just standing here, you can tell what will happen in this room one day? Perhaps, says Leticia. Could you tell something about, say, 1970? asks Julia. Leticia laughs--I can't see that far ahead, she says--I can see tomorrow or the next day--anyway, even if I could see 1970, I wouldn't live long enough to see if I was right or not! Julia laughs along with her. How did you ever pick that date? asks Leticia. I had a dream about this room in that time, says Julia (that sounds SO fabricated!)--could you possibly try and see if my dream is right? I'm not promising anything, says Leticia, who places her hands, palms out, to her forehead, concentrating. I see...I see...you smell the smoke?--smoke, and dust. She stops. Whew! she says, sorry, luv, that's all I see.
Is Collinwood destroyed? Julia wonders to herself in despair--why hasn't Barnabas joined me?--if I could only see the future--if I only knew what Barnabas was doing now!
Old House, 1970 - Barnabas sits before the fire, staring despondently into the flames. Eliot Stokes joins him--Barnabas, are you feeling any better? No, he replies, his hands crawling over each other before he clasps them in an almost-prayerful attitude. I'm sorry, says Stokes, I had hoped you'd be able to attend the funeral this afternoon. I couldn't even do that, says Barn. (How sad--he had to invent illness because a vampire can't go to a daytime funeral.) I knew I shouldn't have gone to Europe, says Stokes, but I thought I had time to bring back the one man who could exorcise Gerard--I thought I had time--it's all I could hear this afternoon as I listened to the minister reading the psalms over those caskets--Elizabeth, David, Daphne, Carrie--all gone. Barnabas laces his fingers together--I'll never forget that night, he says, those creatures Gerard summoned from the grave stopped me from following Julia--I'm going to find her, he vows--that night in the hall, she opened the door and the same stairs that brought us back from 1995 were there--someone wanted her to find them, to help her--I've got to find out where Julia went, and somehow, I've got to get there!
If those stairs brought you from 1995, says Stokes, that must be where Julia is now. No, says Barnabas, I believe the only place those stairs went was back to the past, where all this began--the family journals say that the original Quentin Collins built some sort of strange staircase in 1840, a staircase that led to another time. I assume you intend to use the I-Ching to get there, says Stokes. I have no other choice, says Barnabas--even if I don't meet Julia, I have to go back in time and change history so this terrible night will not have happened. The I-Ching can be very dangerous, warns Stokes. You can't talk me out of it, insists Barn. Carolyn joins them--I love visiting Cousin Barnabas, she says, like one in a dream, but I can't understand why you insisted just because Mother is away--"I think it was a very good idea for her to take David and Hallie on a trip" she blathers--they've had no vacation at all this year.
Stokes purses his lips, downcast. I'll go spend the weekend at the beach house, says Carolyn--could I, Cousin? she happily asks Barnabas. We'll decide that later, he replies. We always used to go there this time of year, says Carolyn girlishly--I loved it in the fall--the leaves are red, dying. . .she closes her eyes, then, her mood changing from light to dark, says, something happened at Collinwood--what?--who are those men?--who set fire to it? She abruptly giggles, switching gears--how silly I am, it was only a nightmare, I don't remember what it was about now--I should go upstairs and pack a bag so I'll be ready to go to the shore in the morning--it will be so lovely to be by the sea, and alone. She leaves. You must get her to a psychiatrist at once, says Stokes, she should be at Windcliff. I keep hoping the effects of what had happened would wear off, sighs Barnabas. That's not true, says Stokes, you told me yourself she was...she will be just the same in 1995. She would harm no one, says Barn. You might be right about Carolyn, says Stokes, but I don't think you should overlook the other problem--where is he? Upstairs, says Barnabas.
Quentin, in Josette's room, looks moonily up at a noose hanging from the ceiling.
Quentin takes a chair and places it under the hanging rope. He begins to stand on it, intent on suicide. Carolyn enters the room, screams NO! and physically drags him off the chair. You can't stop me! cries Quentin, struggling with her. Barnabas! Carolyn screams. I've got to see Daphne, be with her! cries Quentin. Carolyn screams for help. Barnabas and Stokes rush in. Barnabas pulls Carolyn away from Quentin, who turns and immediately begins to throttle Stokes. Barnabas yanks him away from Eliot. Quentin's yelling, accusing Eliot, you went to England when you knew this would happen, and didn't care! No, says Barnabas, holding Quentin firmly, that's not true--Hallie was his niece! Carolyn notes the tense Barnabas uses and asks "Was?--why did you say was?" Barnabas sends the confused girl to her room, promising to explain later. Quentin, childlike now, says, Barnabas, you won't stop me from seeing Daphne, I've got to see her--she's with Gerard now, you don't understand, I've lost her forever--I saw her die--oh, she died in my arms--and I saw the children, they were dead, too--I could have saved them! No one could save them, says Barnabas gently--come along. No, says Quentin, pulling away from him, you want me to go back to Collinwood to watch it all over again, and I'm not gonna do it. No, says Barnabas, there's only one place where we want you to go where you'll be much happier. I'll never be happy until I see her again, insists Quentin, sounding lost--never. Eliot, we'll take Quentin to Windcliff at once, says Barnabas. The camera pans to the hanging noose, and beside it, Josette's portrait.
1970 - Old House drawing room - Barnabas picks up the I-Ching wands. He'll be better off at Windcliff, Stokes says, trying to comfort Barnabas. The expression on his face when we said goodbye. . .laments Barnabas--I felt like I'd betrayed him. You kept him alive, Stokes reminds him. But for what? asks Barnabas--in 1995 he will be as lost as he is now, after all those years of confinement--Eliot, I've asked you for many things, but I have one more favor--will you take care of Carolyn? Yes, promises Eliot, of course. Perhaps you could find a doctor for her--I trust you, Eliot. (That was very nice to hear, and very sincerely spoken.) I didn't think of one thing, says Eliot--if the I-Ching works, your body will remain after your spirit has left--someone must stay here. Willie Loomis, says Barnabas--he knows his instructions. Of course, says Stokes, I'll tell Carolyn we're driving to the beach house. Barnabas clutches the wands in his hands and watches Stokes leave. He enters the secret room and speaks to Roxanne in her coffin--you will be safe here, he assures her--I'm going away--Sebastian is gone--I'm going to try to get back to your time and change your fate--I wish I could look at you, he says, but when I come back, perhaps I can. He leaves the room, closing the shelf behind him.
Carolyn's genuinely pleased to be going, says Stokes--she was upset about Quentin, she wanted to get away from here. Thank you, says Barnabas. I wish there were some other way, says Stokes. Barnabas picks up the wands--there is not, he says. Throw the wands, says Stokes. Barnabas does. I pray this will work, says Stokes--you have no assurance you will arrive in the right time. Barnabas sits before the wands. The 59th hexagram, says Stokes, hexagram of change. I am ready, Professor, says Barnabas. You must visualize a door with the hexagram painted on it, says Stokes--concentrate until the door begins to open. It's opening, says Barnabas, seeing it in his mind. Now, pass through the door--rise and go through that door! instructs Stokes. Barnabas sees a tombstone reading, JULIA HOFFMAN COLLINS, DIED OCTOBER 6, 1840. No! cries Barnabas, it can't be!
NOTES: The I-Ching again. Will Barnabas return to his own body in 1840 or will there be two Barnabii running around that time? And as for Julia, will she die as the tombstone revealed to Barnabas, or will he be able to save her life? Will Gerard do something to her, since he already mistrusts and dislikes her?
Great scenes between Stokes and Barnabas, rife with trust, understanding of a long-term friendship and shared loss. I honestly think Barnabas could have explained to Stokes the real reason he couldn't attend the funerals, and Stokes would have understood and accepted.
Carolyn and Quentin both already seem as they were when we saw them in 1995, mad, grief-stricken, in serious denial. Quentin was all set to commit suicide to be with Daphne, and the vision of him holding her while she died, the children already dead, was very sad indeed. Carolyn has lost her cousin, his friend, Hallie, and her mother, and has convinced herself they all went to Europe. This is really sad. Where is Roger, we have to wonder? Why isn't Barnabas or Stokes or someone appraising him of this horrifying turn of events?
So now, Barnabas rides in on his white horse, about to undertake the I-Ching again, put his own life in danger to save Julia and his family.
Meanwhile, Julia has already incurred Gerard's wrath and put herself on opposite sides from him. He doesn't believe her about the earring, but has no choice but to accept her explanation. She was all set to claim it, too, but caught herself--Gerard is very sharp, however, and you know he didn't believe her.
I'm sure all the Juliaphiles were upset with Barnabas' coffin-side speech to Roxanne, but remember, if he does prevent her from becoming a vampire, she surely won't exist in 1970, will she, leaving Julia clear and singular claim to Barnabas?
1114 - Barnabas breathes heavily--Stokes, he gasps, I must get through, but I can't move! Realizing Barnabas is in distress, Stokes calls to him and grabs his shoulders. Barnabas' body rock violently as he comes out of it--you shouldn't have stopped me, he says. I he feared something terrible would happen to you, says Stokes--did you see anything beyond the door? Yes, says Barnabas, I saw an inscription on a tombstone--Julia Hoffman Collins. Could you read the date? asks Stokes. Yes, says Barnabas, October 6th, three days from now--I don't know about the Collins, but I've got to get there by October 6th! He rises from the chair, rapping his hand on the table for emphasis. Is it possible what you saw was an hallucination? asks Stokes. I can't believe it was! says Barnabas. There's one way to find out, says Stokes. He and Barnabas go to the graveyard, where Barnabas shows Stokes the family plot from the 19th century. Minerva's stone is next to Julia's. The men stand in front of Julia's tombstone. You weren't imagining the 1840--why Julia Hoffman Collins? asks Stokes I guess she was trying to give the impression she was a member of the family so she could be more quickly accepted, suggests Barnabas.
Makes sense, agrees Stokes, but even if you succeed in getting there, how can you be sure you'll get there before the day she dies? I don't know, admits Barnabas, I don't know anything, but I do know I must find a way, and within these next three days. The camera pans on Julia's headstone. We hear her voice calling, "Barnabas, I need you desperately!"
1840 - Julia examines a profile of Barnabas, asking aloud, will I ever see him again?--will I? Do you always speak to inanimate objects? inquires a pretty, vibrant redhead--Roxanne Drew!
Julia stares at the other woman, who introduces herself as Roxanne Drew, Samantha's sister. I already know about you, says Roxanne--Samantha told me all about you--are you enjoying your stay at Collinwood? I haven't quite gotten used to it yet, admits Julia. I can quite understand that, says Roxanne, looking around, this house does have a tendency to overwhelm one, doesn't it? It's quite large, agrees Julia. A man who looks like a Trask has entered the drawing room and is standing near the door, watching Roxanne with unconcealed lust. The house is large, agrees Roxanne, and for the most part, quite useless. She sees Julia gazing at the man standing there--this is Lamar Trask, Roxanne says, an old friend of the family--he and my father are very close--Lamar has his business in Collinsport--can you guess what business he's in? (It's already obvious Roxanne does not like this man much at all, considering how mischievously she's acting, as if she's mocking him.) I'm sure Miss Collins isn't interested, says Trask. I just wanted to see if she could guess, says Rox defensively. I'm afraid I'm not very good at guessing, says Julia. Lamar is a very successful undertaker, says Roxanne--or do you prefer mortician, Lamar? Feeling he's being made sport of, Trask testily replies, it really doesn't matter. Anyway, that's why he never smiles, says Roxanne--but I've never known an undertaker who did--she seems to be laughing at him--despite of how richly rewarding it is, death is a solemn business, adds Roxanne, still seeming to stifle a laugh. Julia watches them. Is something is the matter? asks Roxanne, you looked at me in a very strange way--have I made you uncomfortable? No, Julia assures her, of course not. Is my sister at home? asks Roxanne. No, but she should be back soon, says Julia. Then we won't mind waiting, says Trask--but shall we wait on the terrace--we do have something to discuss, remember. She makes a face at him and asks, "How could I forget?" They leave Julia alone. How different she is from the Roxanne I met in 1970, muses Julia, and how terrible to know that one day, perhaps soon, she will be cursed as Barnabas was. She sits by the fire, staring at Barnabas' daguerreotype, thinking--if I only knew when it would happen, and who would cause it, maybe I could tell her--but there's no way of knowing, no way at all!
On the terrace, by the fountain, Lamar complains, Roxanne, you don't think too highly of my profession, do you? Did I offend you? she asks, I'm so sorry--(sarcastically) just that the thought of making one's living from the death doesn't fascinate me. Death is a fact of life, my dear, he says, and it must be dealt with tastefully, and with reverence--the Trask Chapel is an institution in Collinsport. Would you mind if we don't discuss the Trask Chapel this evening? she requests. But it is my livelihood, he reminds her, and it must not be treated frivolously--but, he smiles, we are not here to discuss my profession--the fact is, there is very little time left before your father returns--I think I'm entitled to an answer from you. You mean you think you're entitled to the answer you and father have already decided upon, she says bitchily--well, you're not, Lamar, my answer is still no--you're not the man for me! Insulted, he asks, might I assume there is someone else? You may assume NOTHING! she says--but someday, I will meet a man--a stranger, his goodness and gentleness will overwhelm me--and I'll be amazed by an air of mystery that surrounds him--and he will be courtly and charming--and he will love me as I want to be loved--I've always dreamed of such a man, and I know that we're destined to meet. At the gate, Barnabas watches and listens as Roxanne goes on about her perfect man. He smiles. (Honey, I'm home!)
Lamar, asks Roxanne sarcastically, are you being quiet because the man I described "couldn't possibly be you?" What you've just spouted is a lot of romantic gibberish, says Trask, if I may say so. You may say whatever you feel, she says--I felt it was a painless way of saying goodbye! Barnabas smiles and walks away. Julia comes out onto the terrace--Roxanne, she reports, your sister has returned and is waiting for you in the master bedroom. Lamar starts to take her arm, intending to escort her, but Roxanne pulls away, gives him a dirty look and says, it's all right--I know my way. She heads back into the house. A glass of wine? offers Julia. I don't partake of alcoholic beverages, says Trask stuffily--drink is the curse of mankind. Oh, I see, says Julia--by the way, I was wondering, did you have a relative who lived in Collinsport at the turn of the century?--a Reverend Trask, I believe? The good Reverend Trask was my father, says Trask proudly, why, what do you know of him? Nothing, really, says Julia--my own father spoke of him occasionally. And who was your father? he asks. Barnabas Collins, she says. The one who went to England in 1797? he asks. Yes, she says, you seem very familiar with the Collins family history. I have made it my business to be, he says--you see, my father disappeared the same year yours went to England--to this day, no one knows what happened to him. How extraordinary, comments Julia, wasn't he involved in a trial of some sort? Yes, a case of witchcraft, says Trask--thanks to the Reverend Trask, the witch was eventually convicted and hanged--I have vowed that someday I will solve the mystery surrounding his disappearance! Do you have any theories? queries Julia. I have always been convinced he was the victim of foul play, says Trask--he was last seen entering the gates of Collinwood. Surely, says Julia, that couldn't possible... My father was revered by most of those at Collinwood, rants Trask, but there were a few he considered his enemies--creatures of sin, he called them. Did he name them at all? asks Julia. No, says Trask, causing Julia's mouth to twitch in a satisfied smile, but he made it clear they were under the influence of the evil spirits at large in the house--someday, I will discover what happened to him, and who was responsible--and if that person is still alive...
Julia looks away from the raw hatred on his face.
9 PM - Roxanne heads downstairs at Collinwood, holding her dress off the floor. She enters the drawing room--Lamar, she says, I'm ready to be taken home. I trust Samantha has given you sufficient moral support to see you through this crisis? I have no idea what you're saying, she says. Don't be ridiculous, he says, you know you came to see Samantha to take your side, tell your father I'm not the right man for you! You're being absurd, scoffs Roxanne--"Please take me home!" He whirls her around to face him--not until this matter is settled! he insists. It has been settled! she says firmly. You're making a very grave mistake, he says--your father and I have entered into an agreement--I suggest you come to your senses and COMPLY with that agreement. At the window, Barnabas watches the entire scene, fascinated by this feisty lady.
I knew from the moment I met you that I would never marry you, says Roxanne--I resent the way you and my father have plotted this little marriage scheme, and I resent being treated like a parcel of real estate!--leave me alone, go back to Collinsport and bury someone, you seem to enjoy that so much! (Nice burn, Rox!) Good night, he says, stalking out. Good BYE, Lamar, she retorts. Julia enters, apologizing, saying I had no idea that you and Lamar were engaged in a private discussion. What a polite word for it, says Rox, it doesn't matter, I'm happy to be rid of him. Are you rid of him? asks Julia. Oh, yes, says Roxanne, smiling, he'll go back to his funeral parlor and brood for a while; father will be furious, curse my ingratitude, and then he'll find another ideal husband, and the cycle will begin all over again--but I'll be ready for it--I always am--good night, Miss Collins. She leaves. Julia sighs over this 19th century soap opera and heads upstairs.
Terrace - The fountain has been stilled now as Roxanne steps down. She hears rustling branches--is someone there? she calls--who is it?--who's there? Barnabas comes out of the bushes. What are you doing here? she asks. There's no reason for you to be afraid, he says. Scared, she orders, kindly answer my question--who are you? Barnabas Collins, he says, I've just recently arrived from England. If you're really a Collins, she says, what are you doing lurking around here on the terrace? I was just about to go inside, he says, please don't tell them you saw me--I don't want to spoil my surprise with the family. I see, says Roxanne--they don't know of your arrival. No, he says, may I ask who you are? Roxanne Drew, she says. He repeats her first name--it's beautiful, he praises. Are you planning on staying at Collinwood? she asks. I hope to be, he says, gazing into her eyes, but my plans aren't finalized yet. They make serious eye contact--I trust you're no longer afraid, he says. No, I'm not, she agrees, moving in close--if my father knew that I stopped to talk to a perfect stranger, he'd have apoplexy. Barnabas smiles--I hope you won't consider me a stranger for much longer, he says. They smile at each other. You're the most amazing man, she says--I really should be on my way. Miss Drew, may I see you again? he asks. You're very direct, aren't you? she asks. You may not understand this, he says, but when I first saw you, I had the feeling that somehow we were always destined to be together, to meet.
You're a most unusual man, Mr. Collins, she says. Barnabas, he corrects--may I call on you at home? My father is out of town on business for a few days, she says--we have a guest in the house, but he retires very early--I'd be pleased if you'd call on me anytime you wish. Getting near kissing distance, he assures her, I will. He kisses her hand and says, "Till we meet again." Good night--Barnabas--she says, and drifts off. He looks after her, already in love. His forehead creases when he realizes, I can put her life in danger--don't see her again, he orders himself--"I must stay away from her!"
Roxanne enters her bedroom and closes the door, then leans back against it, musing, I was so sure he'd visit me tonight--why didn't he?--why?--is he really the one I always imagined I'd meet--or is he just a stranger? She turns on a lamp--he said he'd be staying at Collinwood--I'll see him again, then. She removes her cloak, unaware that Barnabas is standing behind her, waiting. She notices him. What are you doing in my room? she asks. Don't be frightened, or make a sound, he cautions. You have no right to be here, she says, you must leave. He steps toward her, staring into her eyes intently. Her anger dissipates. I should have resisted coming to you like this, he says in a hypnotic voice, but it was impossible--I kept seeing your face before me, hearing the sound of your voice--I am the stranger you spoke of--and I will love you as no one else ever has
--I cannot help myself. He bends down and sinks his loving fangs deeply into her tender throat.
NOTES: Now we already know how Roxanne became a vampire, and it appears here that none other than Barnabas was her sire! They do make a romantic pair, I have to admit. She is so feisty, and I loved the way she put down Lamar and his undertaking business. This gal has spunk! What an appropriate business for a Trask!--still pious, not drinking, putting down those who do. He really is a creep, and Roxanne's put-downs were delightful to hear.
Barnabas didn't waste any time finding himself another lady, did he? You could tell he liked Roxanne from the first second he saw her, and the feeling was mutual. Notice that though he commanded himself not to see her, he couldn't resist, as the Barnabas of 1970 would have.
Enjoyed Julia's conversation with Trask, too. She knows what happened to his ancestor, and she was having fun baiting him. It must relieve her tension a bit, and she sure needs it.
What will become of Roxanne now? She thinks she's found the man of her dreams, but she has no idea Barnabas was eavesdropping on her conversation with Trask. This Barnabas has nothing but compulsion and no control, as he does in 1970. Too bad Julia didn't know that the Barnabas/Roxanne drama was already taking place under her very nose--but isn't that always the way on DS?
Love, Robin
