1150 - Roxanne implores her brother to let her get into her coffin, but Randall says he cannot--this is the only way she will find peace. Sobbing, Roxanne begs him to let her get to her coffin, but he says he can't until the sun comes up--and it's all over. Let me live, I don't want to die, she cries, not like this, oh, please don't do this to me! I must, he says, it's the only thing I can do, after what I've seen here tonight, I can't let you go on the way you are! I'm not responsible for what I've become, she wails, Randall, I can't help myself! He asks her who is responsible for making you this way, tell me! he says. There's no time, she says, please, don't put me through this torture! I must, he insists, I must, there's an innocent woman dying in Rose Cottage, the only way to save her... "Randall, I'm your own sister!" screams Roxanne--"Can't you have mercy on me?" Stricken at her words, his hand holding the cross drops. Feeling his capitulation, a satisfied smirk comes over her face as she turns to face him. Realizing how evil she is, he again holds up the cross, ordering her to stay away from him. Roxanne screams and turns away. You're not human anymore--you're not Roxanne! says Randall--you're not! The sun begins to shine through the window. Roxanne covers that side of her face. "The sun is rising!" she cries, oh, I beg you please have mercy on me--oh, ohhhhh! Oh, Barnabas, Barnabas, I need you--you're the only one who can help me now! Barnabas!"
Her body is filled with light, and as she continues to cry out Barnabas' name, screaming in pain, she disappears before Randall's eyes, leaving nothing at all behind.
Julia, lying in a bed at Rose Cottage, awakens and touches her throat. It's over, she says, she's dead--Roxanne is dead!
Randall stands staring down at the spot where his sister writhed in agony, then kneels and places the cross in that place.
Collinwood - Daphne reads her sister's letter, which says, "I used to be so jealous of you, now I want you to have your chance--but make a wiser choice than me, please, do not follow me--do not follow my path." Quentin enters and she smiles and goes to him. He just got word that Julia's at Rose Cottage. Is that where she's been since she disappeared? asks Daphne. No, says Quentin, she was taken there last night--the victim of another attack. Is she all right? asks Daphne. He explains that he was going to Rose Cottage to get Julia--would Daphne like to come along? No, she says, turning away, I have to stay here. But why? he says, you don't have to be with the children for a good while yet. I know that, says Daphne, but--I've been reading this (holds out the letter) again, trying to figure out how it got into this house--what's happening to us?
He tells her reading the note over and over won't help. What will? she asks. Quentin doesn't know. Daphne feels her sister's spirit is restless and will remain so as long as she stays in this house. Quentin asks if she's trying to tell him she wants to leave him. I don't want to leave you, she assures him, I'd never want to, I've only just found you! And she goes into his arms--but I'm so frightened, I don't know what to do she admits. Holding her close, he assures her it's all right--just do nothing--I want you to wait until I get back from Rose Cottage, we'll try to settle matters then. How? she asks. He takes her face in his hands, telling her he doesn't know the answers anymore than she does--but they've just got to resolve this together. Quentin, she says, will there ever be an answer for the two of us? He kisses her, a nice wet one, then runs his lips seductively over her cheek. He promises he'll be back ASAP--she'll be all right? She nods. He goes.
Old House - Randall enters, calling to Barnabas. Trask has been locked in the basement; seeing Randall, he orders him, "Get me out of here!" Randall tells Trask the door is locked. Trask explains that Barnabas locked him in there, then left, and he doesn't know where he went. You must tell me what's happened, says Trask--a little while ago a change came over me. You are no longer under Roxanne's control, says Randall--she's dead. You destroyed her? asks Trask. I had to, says Randall, his voice tortured, don't you understand? Yes, of course, says Trask, may the poor child rest in peace now--and may we discover the heretic that caused her to be that way. Randall says he doesn't understand why Barnabas felt it necessary to lock him in here and then leave--why couldn't he just stay until it was all over? Trask doesn't know, but insists Randall must free him now--he can't spend another moment down in that basement, he feels the presence of evil down there! There's no key, says Randall, he probably took it with him. Break the lock, says Trask. I can't, objects Randall, the door is solid iron--someone at Collinwood must have a key, he'll go there and return as soon as he can. Randall! calls Trask through the bars, please hurry! Trask heads downstairs, back to the basement. He sits down on a stair, but suddenly hears the sound of chains rattling. Who's there, who is it? he asks. He hears the chain again. Take warning, whoever you are, he says, you are dealing with a man of God--I'm not afraid. More sounds of chains. Trask looks around, and moves toward the bricked up wall behind which his father's bones hang. That's where the sound of chains is issuing from, he realizes.
Quentin brings a weak Julia back to Collinwood and offers her tea or brandy. No, I'm fine, she assures him. He sits beside her, asking about something that's been bothering him--according to Flora's note, she was pretty near death--how does she account for this incredible recovery? I don't know, she says, I'm just glad I'm alive. So am I, he says--at least you may be able to help us now that you know what it is, you might be able to end these attacks. I know. . .what? asks Julia. What attacked you, he says. Julia doesn't know, actually. How is that possible, he says, you must have seen. It all happened so quickly, says Julia, I lost consciousness almost immediately. He looks at her speculatively, as if she's lying. Randall enters and asks Julia how she's feeling. Weak, but I'll be all right, she says. You know it's all over now, says Randall. Yes, says Julia. What's all over, demands Quentin--Randall, what do you know about this? Randall asks Julia if she's told him. I thought it best not to tell anyone, she replies. Listen to me, insists Quentin, one of you tell me what's going on.
Julia was attacked by a vampire, says Randall, and the vampire was Roxanne. Quentin is stunned.
Randall explains to Quentin and Julia that Barnabas left the crypt with Trask, and he waited for Roxanne--when she arrived, he prevented her from reaching the coffin. Julia says then it was the light of day that destroyed her. Yes, says Randall, remembering, and takes a stiff gulp of his brandy. Roxanne a vampire, killing people like that, says Quentin--someone had to make her do that--someone is responsible! Yes, agrees Randall, and whoever it is is still at large--do you have any idea where Barnabas is? he asks Julia. No, she says, I saw him last with you, leaving Rose Cottage--why? He took Trask back to the Old House, says Randall, and locked him in the cellar--to keep him away from Roxanne--Trask was also her victim--I understand Barnabas feeling it necessary to lock him in the cellar, but then he went away and left him there all day--why? Julia says he probably thought it a good idea. But he knew when the dawn came, the spell would be broken, says Randall, Roxanne would be dead--I just don't understand why Barnabas couldn't stay there until it was over. I don't know, says Julia, but why don't we go get Trask out of the cellar now? That's what I came here for--Quentin, do you have an extra set of keys to the Old House. No, says Julia, Barnabas gave me the only extra key--I'll go with you and open the cellar. Quentin advises her to stay here--she's still pretty weak. I'm all right, Julia assures him, besides, if Barnabas is back, I'd like to talk to him. All right, says Quentin, if you think so--he asks Randall who else knows about Roxanne. Only Flora and Trask, says Randall, why? I don't think anyone else ought to be told, says Quentin, especially Samantha. Julia listens. Yes, agrees Randall, I don't think Samantha should ever know--Julia, whenever you're ready. She goes with him.
Trask listens to the clanking chains behind the basement wall. He hears someone moaning, and thinks he might be imagining this. He presses his ear to the bricks. No, my ears are not deceiving me, he says--I'm in command of my faculties, I know what I'm hearing--who is behind this wall? Answer me!
Quentin closes the drawing room doors. So Julia doesn't know what attacked her, either, Daphne asks him. No, he says, sitting on the sofa beside her, but apparently she feels well enough to walk around--let's hope she has time to think things over and she may be able to help us. I hope she does, says Daphne.Quentin starts to put an arm around Daphne and is caressing her face, touching her intimately. She tells him she's had time to think things over very carefully and she's reached a conclusion. She rises from the sofa and tells him she only feels they will have peace of mind if she leaves Collinwood. No, he protests, absolutely no, out of the question. My staying here is only making matters worse for both of us, she insists. Listen to me, he says, caressing her hair and face, if you go anywhere, believe me, I'll follow you. No, she says, you've got to stay here--your place is here, in this house! He wraps his arms around her and begins kissing her cheek. Believe me, my place is with you, he murmurs. She closes her eyes, wanting him. I know that now, he says, and I feel it deeper than anything I've ever felt in my life. She draws away from him--Quentin, don't you see, it's wrong for me to stay here--that's what Joanna was trying to tell me in her note. Joanna didn't write those notes, he says, I think someone alive did, and for a reason we cannot understand. How can we possibly find out? she asks. Perhaps Joanna can help us, suggests Quentin. She's dead, says Daphne. Maybe she can help us--if we reach her, says Quentin. Daphne doesn't understand. Quentin says they can try to communicate with her the only way you can reach the dead--you and I are going to conduct a seance tonight.
Still hearing moaning and clanking, Trask runs his hands over the brick wall. He hears a key turning in the lock upstairs, and Randall comes down, apologizing for taking so long. Julia comes down, too. Randall asks Trask if something is wrong. Very wrong indeed, says Trask, pointing to the wall--there is someone behind that wall!
What are you talking about? Randall demands. Julia assures Trask he's wrong--that's part of the basic construction of this house. I tell you, I heard noises coming from behind that wall--first the rattling of chains, then a low, painful moaning. I don't hear anything, do you, Randall? Asks Julia. Nothing, says Randall. Trask says he doesn't hear it now, either, it stopped when they came downstairs, but he knows what he heard, and he's telling them if they tear down that wall... This is an old house, warns Julia, it might be very dangerous to tamper with that wall. Is there some reason you don't want us to look behind that wall, Miss Collins? he asks--you know what's behind that wall? Don't be absurd, she says coldly. This is no time for you two to start arguing, says Randall, besides, we have more important things to tend to. Nothing seems more important to me, says Trask, than the strange goings-on in this house.
In that I'm in total agreement with you, says Randall. Julia doesn't understand what Randall means, but he explains that her brother has a lot of questions to answer for him--he finds his behavior in this entire matter very strange indeed. Julia doesn't know what he's talking about. I mean Barnabas knows more about the knowledge of vampires than he is willing to let on, says Randall--he took one look at Trask here and knew he'd been Roxanne's victim--he knew if we followed Lamar, he would lead them to Roxanne, and he knew exactly what to do to put Roxanne to rest. I'm sorry, says Julia, but I don't find that in the least suspicious--by your reasoning, if a man puts put a fire, he's guilty because he knew how to put it out. There's one more thing, says Randall--just before Roxanne died, she cried out for Barnabas, saying he was the only person who could help her in that moment--what did she mean by it? She was under his spell, accuses Trask, I told you that before--I knew it from the night she was stricken. Roxanne and my brother were in love with each other, says Julia, it is not unusual, when you are dying, to cry out for the person you love. I do not believe she was in love with him! insists Trask--I agree with you, Randall, there is something deeper and far more serious to Roxanne's dying words. Perhaps your explanation is valid, says Randall, and then again, maybe not--I know I won't be satisfied until I have some answers to my questions from Barnabas Collins--he still has a lot to answer. Julia doesn't reply, and they all exit the basement.
Daphne and Quentin have set up the drawing room for a seance. A red candle stands on the table. He asks her if she's frightened. She says she's not, but she doesn't think they should try to disturb the dead. Sometimes the dead are already disturbed, he points out, and it takes the living to put them at peace. They sit at the table across from each other, and he says they must touch hands and maintain contact throughout. She understands. Quentin calls out to seek the spirit of one known to each of them, one they have each loved in their own way--we beseech the spirit of Joanna Mills to appear to us, to communicate through one of them, so we may put an end to the troubles that have afflicted all of our lives--please, Joanna Mills, appear to us, or gives us a sign! Thunder booms outside. Quentin looks over his shoulder, grinning. Joanna, you've heard us! he cries--please help us put an end to the mystery that has burdened all of our lives!--appear to us and speak to us--speak to us.
The drawing room doors blow open, and a hooded figure stands there. Daphne's eyes widen.
NOTES: RIP Roxanne. That was always a heartrending scene to me. She wanted to survive so desperately, and begged her brother to give her the chance--but he couldn't, and that had to hurt him. To be forced to kill a sibling is a sad thing.
Barnabas is in trouble now; Randall is determined to interrogate him, and Trask is already suspicious of him. Julia might not be able to protect him from this.
Who did Quentin and Daphne conjure up there? Is it Joanna or someone else?
Is Trask going to find out what happened to his daddy? Was Reverend Trask trying to get his attention and let him know that Barnabas buried him in the cellar behind that wall?
Quentin is a very seductive man, and he really wants to touch Daphne all over--but she's more cautious, as she should be. Her situation with Quentin won't be any different from what went down with Joanne--Samantha will not free him from their marriage.
1151 - Joanna? Cries Daphne. Quentin bolts from his chair toward the figure, but Daphne tells him not to. I've got to, he says, but the figure is gone, only a wind left in her wake. Although Daphne protests, Quentin goes outside to look, and wants to try to contact Joanna again. No, says Daphne, she doesn't want them to--she knows because she would have stayed. Why didn't she speak to us? wonders Quentin. Daphne takes his hands and says she came, isn't that enough--doesn't that tell them what they want to know--she feels all cold inside, as if she were dead, too. Quentin pulls her into his embrace, but she pulls away, saying she knows now. He caresses her face. I know that I love you, he says--and you love me. Yes, she says, I love you, but I can't stay in this house--Joanna will never be at peace as long as I'm here. You're wrong, says Quentin, do you think she wants us to be miserable--is she so vindictive, she wants neither of us to ever be happy again? Together, yes, says Daphne, I believe that. You're wrong, he insists, I need you--you're the only person in this house I can trust--and he kisses her, hugs her. Oh, Quentin, no! she cries. He warns her that if she leaves, he'll follow her, she knows that. He stands behind her, his hands on her, as well as his lips. Quentin, Joanna! She reminds him. Somehow, he vows, we'll find her the peace she deserves--believe me. How? she asks. I don't know, he says, his lips on her cheek, but I'll find a way--just tell me you're going to stay, please, tell me? He caresses her hair. She moves away from him and asks that he promise her they won't see each other alone. He turns to look at her and asks if she really wants that. No, she says, but I can't bear thinking that when we're together, we've drawn Joanna from her grave--now you have to promise me that or I can't stay. He goes over to her, touches her face, and says all right--but it's going to be very difficult. For both of us, she agrees.
Rose Cottage - Desmond searches for Judah Zachary's journal in Gerard's room--he knew he had it! Gerard catches him with the journal and asks what he has there. The journal I asked you about, says Desmond, the diary you said you'd never seen. Gerard turns on the lamp and says he found it the other night on the table down in the hall--he was just returning from Roxsbury, on business there, and was meaning to ask Desmond about it.
Flora accepts that kind of excuse, says Desmond, I don't. I'm afraid you'll have to, says Gerard. We'll see, says Desmond. Are you threatening me again? asks Gerard, asking me to leave Rose Cottage. This time I intend to do more than that, vows Desmond. I await with incredible anticipation for it, says Gerard. You won't have long to wait, promises Desmond. Gerard stops him from leaving, asking if he might finish reading that. Sorry, says Desmond curtly. I hate not finishing what I've started, says Gerard. This time, imagine the rest, advises Desmond, and leaves the room. Gerard is pissed.
Drawing room, Rose Cottage - Gerard enters and bows to Flora, who is delighted to see him--did he have a nice trip? Very much, he says--I see you've been writing again--people tell me you've been working rather hard, here by yourself--you must take care or you'll tire yourself out. She tells him she can't help it, she found such an exciting new subject--vampirism--so much has happened while you've been gone--Roxanne came back from the dead as a vampire--I can't blame you for being shocked--you can imagine how we all felt!--she's at peace now--Barnabas helped Randall find, her, and he put her to rest--poor boy, how awful it must have been! How did Barnabas get involved? Asks Gerard. Through Julia, explains Flora--Roxanne attacked her and was keeping her hidden--Barnabas tracked her down--oh, this is going to be my most exciting adventure. He laughs and says he's sure it will be just brilliant. He rubs her shoulders, telling her she really should relax more, she puts so much of herself into it--by the way, has she seen Desmond at all? He was here just a few minutes ago, she says, he put something away over there--she points--and then left--I used to worry about Desmond. I can imagine, says Gerard. I'm sure you've noticed the aimlessness of his life, says Flora as Gerard goes searching for the journal. Yes, he says. He should have studied law after he got his degree, says Flora. Gerard says he's sure he could have been quite successful. He asks if she has a key to this cabinet. No, isn't it there? she asks. No, he says, I put one of your books in there--I was re-reading CALL OF THE WILD GOOSE. Oh, yes, she says, that's one of my better ones--Desmond must have taken the key, how strange--I have another copy upstairs. She rises to go get it and he tells her to relax--he shall wait for Desmond's return.
Gerard's room - "I know, Gerard," says Trask--you think Quentin Collins has become an obsession with me, that his continued defense of Barnabas incriminates him, too, in the death of Roxanne--Barnabas and Quentin are involved in the ways of witchcraft together, together they do the work of their master, Lucifer, and together they try to destroy us. Why would they use Roxanne as a vampire? Gerard asks. To destroy their enemies for them, says Trask--I was one of the first victims--yes, she attacked me! Barnabas is responsible for her destruction, by Randall? Asks Gerard. Only because she disobeyed them and attacked Julia Collins, Barnabas' sister, says Trask--but they will seek other ways to try and stop us, so we must strike the first blow, Gerard, a blow against Barnabas and Quentin--but especially Quentin! Why especially Quentin? asks Gerard. Remember Lorna Bell? Asks Trask--remember the mark on her forehead?--t was the mark of the devil, remember it? Gerard appears to have a dizzy spell. Trask shows him a paper with the symbol from Quentin's ring--think carefully, says Trask, have you ever seen that mark before. Yes, says Gerard, it's on Quentin's ring. Exactly! says Trask, he has the arrogance still to wear it--it must have been a gift from the devil himself. I'm afraid you're wrong, says Gerard--I gave him that ring. You? asks Trask. Yes, says Gerard, we were in a little village in Brazil, up the river, and one of the crew members got suddenly ill--Quentin had heard of a witch doctor who could perform miracles, or so Quentin said. You let him take a Christian soul to a pagan? Asks Trask. Gerard explains it wasn't his decision--but when the witch doctor was doing his incantations, Quentin mentioned the ring he was wearing--when the ceremony was over, I could see plainly Quentin wanted that ring very much, but was afraid to ask for it--so I bought it for him. So now Quentin has this symbol of the demon seed! says Trask. That's ridiculous, insists Gerard--why would Quentin be interested in witchcraft or the devil's worship? For the same reason Barnabas is--power! says Trask--power over the minds and bodies of this around him--power to destroy their souls, twist their minds to do his bidding--make them tools of Satan, even as they did Roxanne. I certainly hope you're wrong, says Gerard, because Quentin is a very good friend of mine. Sooner or later, says Trask, you'll have to drop this schoolboy loyalty--because my case against Quentin becomes more and more clear to me. He leaves the room. Gerard grins with satisfaction and opens a box, extracting the same symbol he's used before to perform evil rites.
Quentin asks Desmond why he wants HIM to talk to Flora--why can't he handle his own mother? Desmond says he needs an outside voice--Flora likes and trusts Quentin. Desmond pours them both drinks. What do you want me to tell her? asks Quentin. Desmond looks unhappy and rises from his chair. Gerard Stiles must leave this house, insists Desmond. Are you serious? Asks Quentin. Desmond says he most certainly is--because Gerard is dangerous and evil. Do you have reason for saying that? asks Quentin. I found the diary of Judah Zachary in his room, says Desmond. Come on, that's not a reason, says Quentin. He told me he had never seen it, says Desmond, he swore he hadn't, but there it was, in his desk--he gave me some foolish reason that he'd found it there! Maybe he did, says Quentin, a maid could have taken it into the room. Why don't you trust me, why do you take his side against me always? asks Desmond. I'm not taking anyone's side, says Quentin, I just don't want to be part of it--Gerard is my friend. Quentin, says Desmond, forget him, he'll ruin your life, believe me!
Trask enters and asks, "Family quarrel, gentlemen?" Quentin says if it is, it's no concern of his. Evil is a most corrupting agent, says Trask. I've' always wondered what your fine rhetoric is all about, says Quentin, now suppose you give me an answer. He grabs Trask by his shirt front and swings him around to face him--I said, give me an answer! Demands Quentin. Trask snarls, "There's evil in your face!" What are you talking about? asks Quentin. I shall win out over it! insists Trask, soon everyone shall know what I know! He frees himself from Quentin's grasp and leaves.
In Gerard's room, the latter asks Quentin why he should apologize--he was the one who found it--he was the one who ought to apologize to me--he came into my room as if I were some common thief! Yes, says Quentin, I know that, I just want you to try to get along with him--I'd ask you to come back to Collinwood, but... Samantha, finishes Gerard--there's more trouble with her? Not only her, says Quentin. What is it? asks Gerard, have you found more letters? Yes, says Quentin--and Daphne--I'm in love with her, and she with me. Gerard smiles. Well, he says, I envy you--tell me about it. I'm afraid I can't, says Quentin, really, I shouldn't mention it--I simply came by to tell you to do something about Desmond, before he goes to Flora. Gerard claps Quentin on the arm and assures him he will. Quentin leaves his room. Gerard says to himself, "You always get what I want, don't you, Quentin?--no, Quentin always got what Gerard Stiles wanted--but I am Judah Zachary now--I want her as Judah Zachary once wanted Miranda--and I will have her!" He takes the circular symbol out and holds it near the flame. Daphne, says Gerard, Daphne, wherever you will be, you will fall into a very soft sleep--sleep...
Daphne leans back in her chair in the Collinwood drawing room, but continues reading a book.
Don't fight me, intones Gerard, surrender--surrender to me and though you will not remember when you come to me or why you come to me, you will be one step closer to being completely mine!
Daphne falls asleep, leaning her head against the chair.
She dreams Gerard enters the drawing room and stands smiling at her. She goes to him, into his arms. I mustn't stay, he says. You must! She insists, caressing his face and hair. This house is too dangerous for me, he says. Nothing is dangerous for you when you're with me, she vows. How about Quentin? he asks her. Do you think I care about Quentin? she asks, grinning, and kisses him passionately, then holds her. Whenever you want to see me, he says, you will have to come--you will have to come. I'll see you always, she says, don't stop me from holding you--and she kisses him again. He backs away, and tells her to come to him whenever she wants to see him--you'll come--you'll come. He backs away, Daphne calling his name over and over. Daphne awakens, rises from the chair, looks around, puzzled, then hastily leaves the house.
Daphne goes to Rose Cottage, where Gerard greets her. I was expecting you, he says. How could you be? she asks. Or shall we say I was hoping you'd come, he says. She says she doesn't understand why she's here. Think and you'll remember, he says, you've come to see me, haven't you--well, haven't you? Yes, she says, but I don't...
What is it? he asks her--you don't realize how important I am to you, do you? You are, she says, shaking her head, and I... Why are you always fighting me--why? he asks. He caresses her hair, her face. She looks at him. Desmond enters, and, finding them in a rather intimate moment, is furious. Daphne excuses herself and leaves. Daphne? asks Desmond, but she is gone. What are you up to now? demands Desmond. Gerard suggests he asks Daphne. She must have had some reason to leave like that! insists Desmond. I only wish, says Gerard, that I had the powers you think I do--and he leaves the room. Desmond is furious. He opens the cabinet and takes out Judah's journal--I wonder why he took the journal? Thinks Desmond--what could he have learned from reading it? He sits down and opens the journal. Gerard watches him from the doorway. Flora comes to Gerard, who asks if she finished her writing for the day. Mother, says Desmond. Flora enters and he orders her to close the door. Really, Desmond, she chastises, even my own son shouldn't tell me what to do in my own house. She closes the door. I do not want him to listen, says Desmond. Why would Gerard be interested in our conversations? Asks Flora. I want him out of this house, says Desmond. Where would he go? asks Flora. I don't care, insists Desmond. I do, says Flora--he's invaluable here. Mother, he has got to go! says Desmond.
Well, Desmond, says Gerard, his face ugly, now start talking and talk very, very quickly. Gerard loops one of Desmond's handkerchiefs around the throat of a clay doll.
Desmond, says Flora, you're not being logical and that's one thing you've always been. Desmond asks if it isn't enough he's asked her to get rid of Gerard--isn't it? I don't know, she says.
This is your last chance, Desmond! Cries Gerard--talk very, very quickly--and he pulls the knot he's made around the clay doll's neck tightly.
Desmond grabs his throat and begins to choke. Flora asks him what's wrong, and he staggers to a chair as she tries to help him. Flora screams for help. Gerard respond immediately, asking what's happening. He's choking! Reports Flora. Gerard comes forward, asking Desmond what's the matter what happened.
Stay away from me! gasps Desmond. Gerard goes to pour a brandy. He's only trying to help! insists Flora. Gerard brings him a brandy, but Desmond knocks it from his hand. Gerard apologizes to Flora for trying to help. He spots Zachary's notebook on the floor and bends down to pick it up. Desmond orders him to get out. Please begs Flora, he's only trying to help you. Gerard leaves the room grinning, the book in his arms. Behind him, Desmond continues choking, trying to free the invisible hands throttling off his air.
NOTES: Will Gerard do away with Desmond? Will Flora replace her own son with Gerard? Will Quentin ever learn that Gerard is not to be trusted?
Gerard is insidiously working on Daphne, undermining her feelings for Quentin. Will he turn her affections his way?
Interesting how Gerard admitted to Trask he gave Quentin that symbol, but I suppose he has his reasons.
As for Trask, Gerard is goading him into his witchhunt, and that can only have bad consequences.
OK, those who love Quentin, could YOU not want to be alone with him?
Love, Robin
