1171 - Gerard's hooded assailant turns out to be Samantha! I knew it all along! exclaims Gerard, holding her arm away so she can't stab him. She tries to run; he pursues her to the door. Sit down, he orders--you have a little accounting you have to do. I don't have to account to you, says Sam petulantly. Would you prefer explaining your actions to a judge, in a court? demands Gerard. He turns on the lamp---"Tell me it all," he encourages. She pulls off her gloves--I won't tell you anything, she says. Tell me about the notes, he coaxes. I don't know what you're talking about, what notes? asks Sam. Supposing the judge would like to hear more about your testimony in court about the ghost--the ghost that turned out to be you, he says. That's a lie, snaps Sam.
Is it? asks Gerard--Daphne received a note that said someone would try to murder her, and here I find you over her bed with a knife. What were you doing here tonight? she shoots back. When she showed me the note, he says, someone tried to kill me last night--I started to think--who might want to dispose of both Daphne and me?--and the only name I could think of was yours--he grabs her shoulders and says, "You tried killing me last night, didn't you?" No, I didn't, she says, smiling through gritted teeth--not that I wouldn't love to see you dead. I don't deny that, says Gerard, but you don't deny that you could have sent those messages to Daphne, and wanted her dead since she's been here. I had no intention of killing her, says Samantha. Then what were you doing standing by her bed with a knife? asks Gerard. I will tell you nothing, says Sam, pulling away from him. Yes, you will, my dear, he threatens, before this night is out, you will--why did you write the notes--what have you gained by them?--come on, Samantha, start talking, or it will be the police asking the questions! She looks up at him--on what charges? She asks. Attempted murder, he says. All right, says Sam, rising from the chair, I didn't want to kill her, just frighten her--I wanted her to leave this house desperately, just as I want you to leave it. You planned to get rid of her and start working on me, says Gerard--yes, you answered a few questions--you will be very useful to me, very useful indeed. She looks at him, perplexed.
I don't know what you have in mind, she replies, but if you think I'm going to help you, you're insane. Putting a hand on her shoulder, he asks, why don't you just stop and think for a while? Don't touch me, she orders, moving away from him. Does my touch really disturb you? he asks. I can't bear to be in the same room with you, she snaps. That will change, he predicts. I'd rather die than lift a finger to help you with anything, she says. Stop acting like a little schoolgirl, insists Gerard--if you know what you want, and I assume you do... Yes, I know what I want, she says. Then why don't you help me, and I will help you, he says--first tell me about the notes, then all you know about Joanna from the beginning. What if I refuse? she asks, right in his face. I will make sure you go to the authorities, he says--I promise you, it won't be too beneficial to Quentin, as he will have no acquittal, and for you, I will make sure you are prosecuted at the highest degree--now what will it be--work with me or with the law? She sits on the bed, thinking. Yes, my dear, he says, take your time and think--I don't mind being in the same room with you--as a matter of fact, I rather enjoy it. They stare at each other, and this time, she looks like a schoolgirl in love.
Rose Cottage - I was beginning to think you didn't get my note, Lamar, says Flora. I'm sorry for being so late, he says, but the trial is taking up a great deal of my time. The trial seems to be occupying much of everyone's time, snaps Flora--I sent for you because I wanted to know the results of your investigation--the other day when you and Gerard left this house, you were convinced Barnabas was a vampire. Our suspicions appear to be unfounded, he says--Gerard went to the Old House and saw him during the light of day. Well! says Flora, that certainly proves his innocence--he couldn't appear in broad daylight and be a vampire--I, for one, am very relieved--you don't look too pleased about it all. I'm still upset by my experience in the cellar of the Old House, says Trask--Gerard and I discovered the remains of my poor, unfortunate father there, sealed up behind a brick wall. How dreadful! exclaims Flora. He was left there to die by Barnabas Collins' father in 1797, says Trask. Why do you think Barnabas' father would do a thing like that? asks Flora. My instincts tell me, he insists. Instincts do not constitute proof, she says, and I doubt Barnabas' father would do a thing like that--in any case, you can't hold one generation responsible for the misdeeds of another. Misdeeds? says Trask--what a curiously ineffective word you use to describe an act of cold-blooded murder--but then, I've always noticed how deviously clever you Collinses can be. What do you mean by that? she asks. How protective you can be, says Trask, especially when it comes to a matter of family guilt. I think you'd better explain yourself, she says. And I think you'd better watch your step, Flora! counters Trask. I beg your pardon, she says. Don't think I haven't noticed how interested you've been in matters of the occult, accuses Trask--seances, books on vampires, trafficking with the dead
--all you Collinses seem to take that in your stride!--and who but another Collins would defend another on charges of practicing witchcraft?--mark my words, Flora, your son's defense of Quentin Collins places all Collinses, including yourself, under some suspicion! He storms out (what an ungrateful wretch)!
Samantha watches Gerard pace back and forth in Daphne's room. You are against Quentin, aren't you? she asks. Yes, he grins. That also means you're against Tad, and that's why I won't cooperate with you, she says. No, you're wrong there, he says, I'm quite fond of the boy, and he of me, oh, Samantha, he says, sitting beside her on the bed, don't you think I understand why you're against Quentin, why you've been miserable all these years? She looks at him, her defenses breaking down--I can't believe anyone knows what a living hell it has been in this house, she says--I've never been loved, not by Quentin--do you understand why I must get even with him for all the misery he has caused me? Of course I do, Gerard assures her, and that's what I'm trying to tell you--I do understand. She looks at his face--I met Joanna briefly; she says--she was seeing my brother Randall at the time--Quentin met and fell in love with her--and took her away from Randall--even asked me for a divorce--of course I said no--I thought that was the end of the affair--he went away to sea to forget about her, but I knew he wouldn't--what I didn't know was that his leaving would affect her in such a strange way--it made her live in a complete fantasy world--she was trying to recreate the life she had with Quentin--eventually, she says resentfully, they sent her to an asylum--the authorities got so alarmed by her deterioration, they got in touch with Quentin here--that's how I found out where she was--I decided to go see her--I knew that she had freedom of the grounds, and I saw her one day, standing there--nobody saw us, you're the first person who knows about this visit, it's been a secret until this moment. Why did you go see her? asks Gerard sympathetically. She rises from the bed--I wanted to know what it was that was destroying my marriage, she says--I talked at great length--when I learned of the passion she and Quentin had experienced, it made me hate him even more!--there had been love there, the kind Quentin never showed me (we get great insight into Sam here, jealous over her loveless, passionless marriage)--after that I heard she escaped the asylum and a week after that, her body washed ashore on some beach--since Quentin was the only one she ever mentioned, all her belongings and effects were sent here--I've had them locked in a closet upstairs ever since. And that's how you received possession of the notes, says Gerard. Yes, says Sam, she was writing to Quentin from the asylum, convinced somehow her letters would bring him back. Tell me, he says, how did Daphne and Quentin come into this position so easily? At first I used her notes, says Sam, then I began to copy her handwriting--then I could say anything I wanted!--at first, I merely wanted to torture him a little, then when Daphne came here and I realized she was Daphne's sister, I knew I had to go farther, I knew that I had to drive her from this house. Wait a minute! says a shocked Gerard--Daphne is Joanna's sister? Yes, says Sam. Gerard laughs--of course, he says, that's why she had the pistol. What pistol? asks Sam. When I first met her, says Gerard, she was carrying a pistol in her purse--I asked her about it and she explained to me, and I believed her. I don't understand, says Sam. Gerard laughs--how ironic and incredibly beautiful it all is, he says--she came here to avenge her sister's death by murdering Quentin, and if it wasn't for you, she might have done it--you sending her the notes merely brought Quentin and Daphne closer together--she will never murder him now! Perhaps that's just as well, says Sam nastily--dying that way is too good for him--I'd rather see him beheaded--that's a fitting end to Quentin Collins! Have you always hated him this deeply? asks Gerard. He's responsible for ruining any happiness I might have had, she says sadly. You still have a chance, he says--did it ever occur to you that I was forced into treating you like I did when you had to choose between Quentin and me? I don't believe that! she says. You must believe it, because it is true, he says--Samantha, I knew there wouldn't be any chance between you and me if Quentin was still around. He tries to touch her, but she moves away. You must understand and believe me, he says tenderly, putting his hand on her shoulder, kissing her temple, it's true. (She is really sweating!) We can have a new life together, he murmurs in her ear, kissing her temple a few more times. I would believe you if you'd help me get Daphne out of this house, she says craftily. It's impossible, he says. Why, because you love her? she asks venomously. No, he says, because I want you to write more letters--Quentin will lose everything, and his faith in the letters will disappear if he finds out that Daphne is out of the house--so we must keep her here--and then we will put the final touches on Quentin Collins--they will both be gone--and only you and I will remain. He kisses her, nice, slow and hot.
Collinwood drawing room - Gerard, says Trask, I haven't slept very well ever since your encounter with Barnabas Collins that day--"I'm haunted by the ordeal my father must have gone through--Gerard, your mind seems to be somewhere else at the moment, I trust I'm not boring you." Not at all, I'm sorry, says Gerard, I understand your feelings. I've resigned myself to the reality that we will never get Barnabas Collins by legal means, says Trask, the man is far too clever--but I do have a way of dealing with him--I'll need your help. Of course, says Gerard, I'll be happy to help. Barnabas will be at Rose Cottage this evening, reveals Trask. I know, says Gerard, Flora has invited me with several other people for dinner. I'm aware of that, says Trask--I want it to be known to Barnabas Collins that for the past three nights at midnight, the spirit of Roxanne Drew has appeared to me in the cellar of the Trask Chapel
--she has not spoken to me yet, but I have reason to believe she will tonight--will you see he gets this information? Of course I will, promises Gerard, but you must remember, I called Barnabas a vampire--and he's been suspicious of me ever since--so I will have Flora tell him. Thank you, says Trask. I do hope you're not going to keep me in suspense, says Gerard--what are you going to do with Barnabas? I believe it is the holy obligation of a son to avenge his father's death, says Trask--even if that act of vengeance must be carried into the second generation. Gerard nods.
Rose Cottage - Barnabas praises Flora for the lovely dinner. Flora has no fear as a hostess here, says Gerard, so I asked he to serve in that capacity at Collinwood. He holds out a chair for Flora; she sits down. That's very dear of you, Gerard, she says. If you will excuse me, he says, I have work to do. He kisses her hand good night. Flora pours tea--I feel I must explain why I was so insistent in your coming here tonight, she says--it's because I feel guilty. About what? asks Barnabas. I began to have strong suspicions about you after we had the seance to contact Roxanne, she says, if you remember, you broke contact during the seance just as Roxanne was telling us the name of who made her a vampire--she said it was Angelique, and I had the feeling you did it deliberately, because you knew more about Roxanne's death than you cared to admit. If you recall, says Barnabas, I told you my mother's name was Angelique. Yes, I know, she says--then Gerard and Lamar came to see me and we discussed the dreadful events of 1797--and well, we all thought it possible you were responsible for the death of Roxanne, that you were indeed the vampire. Now you know it's not true, he says, sipping his tea. I can't tell you how ashamed I am, she says, and I hope you won't hold it against the others--I only wish the whole thing hadn't had such a terrible effect on poor Lamar--quite frankly, he hasn't been the same since, he's become quite bitter, and now he's having this curious experience with the spirit of Roxanne. What are you talking about? he asks. For the past three nights, explains Flora, Lamar has seen the spirit of Roxanne in the basement of his chapel. Perhaps he's only imagined he's seen it, says Barn. If you could talk to him, says Flora, you'd know it was not his imagination
--I'm quite sure she appears just as he says, each night at midnight. Did she speak to him? asks Barnabas. Not yet, says Flora, oh how I wish I could speak to her--but he won't let me go, and won't even go himself anymore--he says it's too dangerous--but I'm not afraid--she went to her grave with a great secret--I'd give anything to learn it. So would I, says Barn--if you'll excuse me, it's getting terribly late and I have a lot to do in the morning. Won't you stay for brandy? she asks. Thank you so much, he says, I must be getting back to the Old House--thank you so much for a lovely dinner. The pleasure's been mine, she says. They bid each other good night. He grabs his cape, a tortured expression on his face, and leaves Rose Cottage. Gerard stands by the closed door.
We see coffins propped up against the wall in the Trask Chapel basement, hear Barnabas calling first Trask, then Roxanne--I must speak to you, he implores her. Trask, holding a pistol, appears from hiding--she's not here, he says, and won't be here. So it was a trap, says Barnabas. Yes, says Trask, a carefully conceived and executed trap--you're all alone, Mr. Collins, I've waited a long time for this moment. Why did you want me to come here? asks Barnabas. I shouldn't think you'd have to ask that, says Trask, but if you're really in need of an explanation, I suggest you look carefully at the far wall. Barnabas gazes down with horror at a pile of bricks and wet mortar, ready for use. My father's death must be avenged, insists Trask--and you are the one who must pay--I think it fitting that you die the same way he did--sealed up behind a brick wall! Do you really think you'll get away with something like this? Barnabas asks. Trask smiles--consider how long my father's tomb went undetected, he says--now move, he orders, into that alcove--and if you're thinking of escape, remember, I'm prepared to use this pistol. Barnabas walks slowly toward the alcove. At one point, says Trask, I was really convinced you were a vampire, but now I'm glad you're human, as human as my father was
--it makes my revenge so much more complete--so much more fulfilling! Put on the manacles, commands Trask. When Barnabas hesitates, he repeats--"The manacles if you please." Looking as if he's going to cry, Barnabas slips one hand into a manacle.
NOTES: Another brick in the wall, Collins/Trask style. I guess these two families are doomed forever to repeat the "Cask of Amontillado" on each other. Trask, seemingly mad, sure seems to be having fun. How ironic that this should happen to Barnabas just after he regains his human status; as a vampire, he'd have escaped easily, but then again, if he were a vampire, Gerard would have done away with him via silver bullet the other day. I always loved these melodramatic scenes!
So Samantha knew Joanna better than we thought, and SHE'S been writing the notes. Who saw that coming? Great performance by Vestoff there, she really is a terrific actress. When Samantha is at her most vulnerable, Gerard starts romancing her again; between Gerard and Judah, she doesn't stand a chance. She's lonely, depressed, bereft, angry--and he's taking full advantage of it.
Gerard is going to romance her, Daphne and Edith? I hope he has super-strength to keep up with his harem/coven of ladies!
1172 - Quentin sits in his cell. The intro tells us that Barnabas has volunteered to testify on Quentin's behalf, but on this night, Barnabas himself, now no longer under Angelique's curse and vulnerable to death, will become the target of a vengeful man.
We see the freshly bricked-up wall behind which Barnabas is imprisoned. Only two bricks remain to be slotted in. Trask slaps wet mortar on another brick--I'm almost finished, he tells Barnabas You're insane! says Barnabas, his voice and face filled with fear--you'll never get away with a thing like this! Your pleas will fall on deaf ears, says Trask, as my father's did in the cellar of the Old House. My wife and sister will not rest until they find me! cries Barnabas. No one will find you, says Trask, fitting another brick into place--at least not for a long, long time!--my own father's remains were not found for 40 years--how long do you think he was able to survive without food and water? Trask, says Barnabas, this will not be the last time you'll see my face--you'll see it again! Trask laughs as he prepares the final brick. After this last brick is in place, says Trask, no one will ever see you again!--or hear you--these walls are thick--your cries will not be heard!--you know, it is with a sense of triumph to me that I am not only avenging my father's death, but preventing you from testifying on behalf of the heretic, Quentin Collins
--he smiles--now, Mr. Collins, goodbye!--he fits the final brick into place, cutting off Barnabas' light.
Collinwood - Gerard comes downstairs. Julia enters the house. Good morning, he cheerily greets her. Don't pretend we're friends, she says icily--we both know you tried to kill Barnabas yesterday--I will be civil to you when people are around, but that is all. My my, what a temper you have, he says, it matches the color of your red hair--tell me, are you looking for your brother?--he pours tea. Have you seen him? asks Julia anxiously. Isn't he supposed to be in court today? asks Gerard. Yes, she says. Perhaps he's started for the village earlier, suggests Gerard. No, says Julia, we were leaving the Old House together and going to the village--I went to the Old House, but he wasn't there--Valerie hadn't seen him since last night. Gerard sips his tea and remarks, how strange that is. Not strange, objects Julia, he might have gone for a walk early this morning. Of course, he says, but then why are you so uneasy? Should I be? she asks. Not as far as I'm concerned, he says--if I see Barnabas, should I tell him you're looking for him? If you see him, I doubt very much he'll talk to you, she says, but you can tell him I've gone to see Quentin in the village. The front door opens. Trask greets Julia good morning. She surveys him, coldly says good morning, then leaves the house. Trask smiles triumphantly and joins Gerard in the drawing room. I gather she is unable to find her brother, says Trask. That's right, says Gerard. Well, says Trask, I can appreciate her concern for a missing loved one, can't you? What do you mean? asks Gerard. But then of course, he's only been missing for one day, says Trask--wait until the days stretch into years, then she'll know how I felt. Trask, asks Gerard, what are you trying to tell me? Nothing at all, insists Trask. What do you mean--'the days will turn into years?' asks Gerard. Just a feeling I have, says Trask. You know where Barnabas is--what have you done with him? asks Gerard.
Trask smiles--do you really think I'd do anything to harm Barnabas Collins? he asks--didn't you tell me he was not guilty of vampirism as we suspected--didn't you see him in the light of day? Yes, replies Gerard. Well then, replies Trask, do you really think I'd do anything to harm an innocent man? What have you done to him? asks Gerard, grinning. Let me put it this way, my friend, says Trask--whatever fate has befallen Barnabas Collins, I'm sure it is well-deserved, but I suspect that we may have seen and heard the last of him.
Jail - Quentin clutches the bar. Julia enters. I'm sure glad someone finally showed up, says Quentin. Barnabas hasn't been here? asks Julia, terrified. No, says Quentin, he was supposed to come and discuss his testimony with Desmond before he took the stand--Desmond finally gave up and left an hour ago. Julia shakes her head. What's happened to him? asks Quentin. I don't know! she says fearfully. Where's Barnabas? asks Quentin--I don't understand--do you think he's changed his mind about testifying for me? You know he'd never do that, says Julia. Then why isn't he here? demands Quentin. I can't tell you, says Julia, I just don't understand it myself, this isn't like him--Valerie and I looked everywhere for him this morning and couldn't find him--I can only decide he's just disappeared--the last thing he'd do is desert you at a time like this--the only conclusion I can come to is that something has happened to him--something dreadful. They'll go to any length, won't they? he asks--the people who are out to get me--they didn't want Barnabas to testify, and now they've seen to it that he won't. Do you really think that's the answer? she asks. After what's happened, says Quentin, I'm convinced those people are capable of just about anything. He looks discouraged and tired.
Hanging suspended in the bricked up alcove, Barnabas hears a sound and returns to consciousness. Someone walks down into the basement--Trask. Can you hear me, Mr. Collins? he asks. Yes, replies Barnabas weakly. I thought you might like to hear how the trial is progressing, taunts Trask--your failure to appear came as a severe shock to the defense--he smiles happily--in fact, it was a most embarrassing moment for Desmond Collins--I believe it may have been a turning point in the trial--so you see, in your own way, you've made a contribution to the case for the prosecution. Hearing this travesty, Barnabas closes his eyes in misery.
Collinwood - Gerard looks outside the window and sits on the sofa, drinking a cup of tea. Daphne enters. Good morning, he says, how was your stay at Rose Cottage? I hardly slept at all, I couldn't stop thinking about that latest note, she says--tell me what happened last night?--you were going to stay in my room and see if Joanna's spirit appeared. Nothing happened, he lies, nothing at all. You're not telling me the truth, she accuses. Nonsense, why would I lie to you? he asks. I don't know, she says, but you are lying--please, if something happened, you must tell me. Very well, he relents, something happened--I was in your room for about an hour when it appeared--Joanna's spirit--she moved toward your bed carrying a knife!
Joanna really wants to kill me! cries Daphne. What else can we think? he asks--she moved toward the bed and when she found it empty, she vanished. Do you think I should leave Collinwood? she asks. No, he says, it's the one thing you must not do--there are answers here, and we will find them. She shakes her head--Joanna was so good to me in life, she'd never try to hurt anyone--I don't understand this. There are answers, Gerard assures her, and we will find them--perhaps if we communicated with her in some way. We already tried that, we had a seance, says Daphne, she appeared, but only for a few seconds, then disappeared. If we can't communicate directly, perhaps indirectly we can, he suggests--when Quentin confided in me about the notes, he told me about the great oak tree, where he and Joanna used to meet. That's right, says Daphne, she even left two of the notes there. If Quentin would write another note, suggests Gerard, and have someone leave it there for her, a note explaining how he feels about you, then I'm sure she would understand.
How would we know? asks Daphne. She would be bound to answer Quentin's note, he says, and that way, we'd know everything. You may be right, she says. You sound a bit doubtful, he says. I'm thinking about Quentin, the chance he would be taking, she says, they've already accused him once of trying to communicate with the dead; if anyone should find the note, they could accuse him again. It is the only chance we have, he says--I'd do it if I were in his position--for you--you must go to Quentin and tell him what danger you are in.
Trask Chapel basement - Lamar comes downstairs again to check on Barnabas--how do you feel, Mr. Collins--you're nearing the end of your first full day--are you getting hungry and thirsty?--well, it will get worse as time goes by--slow, agonizing death is the worst kind, you know. Laughing, he leaves. Barnabas, his eyes still open, thinks to himself, "How right he is--and how ironic it all is--Angelique lifted the curse in order to help me and now I am totally helpless--my powers are gone!--I have no way of communicating with anyone--it is possible no one will ever find me here." He leans his head back and closes his eyes in despair.
Jail - Quentin reads Joanna's note: "I will come back, and this time I shall succeed--Joanna." When did you get it? he asks. I found it in the foyer last night, she says. Did anything happen? he asks. Yes, she says, I stayed at Rose Cottage and Gerard stayed in my room--Joanna's spirit appeared--she was carrying a knife. Then she really intended to kill you? he asks, and kisses her forehead. Yes, she says, I shouldn't have worried you with this, I know, but if we don't stop it now, she'll try again, and next time she may do it--she may kill me!
Quentin caresses Daphne's face--you must leave Collinwood, he insists--I'll talk to Desmond and he'll arrange... No, running isn't the answer, she interrupts, wherever I go, I will always love you, and that's what Joanna really wants to kill, that love. All right, says Quentin, what else can we do? She describes Gerard's potentially dangerous idea for Quentin to write a note to Joanna explaining his feelings, appealing to her sense of reason--then maybe she'll understand. How do we know it will work? asks Quentin. How do we know it won't if we don't try? she says--Quentin, we must try, we must! All right, he says, but how do I get a note to Joanna? The one place she'd be most likely to appear is the oak tree, says Daphne, so, I'll take it there. But if anybody catches you, says Quentin, you'll be implicated in all this, and that's the last thing I want--now I think it's best if we find someone else to bring the note. We can't bring anyone else into this, we can't afford to, says Daphne--I've got to do it, but it's your decision, I'll do whatever you want me to do. He caresses her face--I don't want anything to happen to you, he says--I want you to be waiting for me when I get out of this place. You know I'll be waiting, she assures him. All right, he agrees, asks the constable for some pen and paper.
Gerard closes the double doors--Trask, I see you wasted no time. Your note made it clear that the matter was urgent, says Trask. It is, says Gerard, I have a secret from a very unimpeachable source that says Quentin will communicate tonight with the dead. You don't say, says Trask. Yes, says Gerard. Did your source say why he intends to make this move? asks Trask. It seems as though he has lost all faith in the help in his trial, answers Gerard--and he will enlist help from the spirit world. How very interesting, remarks Trask--how does he intend to communicate with this spirit world? Sit over there, Trask, and I will tell you--and listen very carefully. Lamar sits on the sofa.
Julia returns. Daphne, heading downstairs, asks, is there any news about Barnabas? No, says Julia, he's completely disappeared--Valerie and I have notified the police, they're searching the woods for him now. I wish there was something I could do, says Daphne. There's nothing anybody can do except pray for him, says Julia, a note of desperation in her tone--wherever he is--what are you up to? I've got an errand to do, she replies. Julia nods and smiles wanly. She enters the drawing room and asks Trask and Gerard, whose fate are you deciding now? I don't know what you mean, says Gerard. "What have you done with my brother?" demands Julia. What an odd question, says Gerard, I told you this morning... I know what you told me this morning, she says, but I know Barnabas too well to believe he could disappear this way
--he had to be trapped into it--and you two both had reason to stop him from testifying for Quentin. If you are going to make these formal charges, says Gerard, I do hope you've prepared proof! I know I can't prove anything, she says, but we are in this together, and I don't know why you won't admit you're working hand in hand with Trask, Mr. Stiles. On the contrary, says Trask, I still have not convinced Mr. Stiles that Quentin is the heretic I know him to be--his stubborn loyalty to Quentin continues to mystify me--and as far as your brother is concerned, I suspect that the prospect of severe questioning by Charles Dawson was simply too much for him and he ran away...good night. Julia, arms crossed, gives the departing Trask a glance of hatred. I know how upset you are, he says gently, but you mustn't make accusations like that against me--I don't know where Barnabas is, I told you that--you must believe me--why don't you come in and have a drink with me? He tries to take her arm, but she shrugs him off and leaves.
Woods - Daphne walks to the oak tree. She is about to place the letter, addressed to Joanna, inside it when Trask accosts her and grabs away the note.
"I'll take that note, Miss Harridge," he insists. She surveys him with alarm.
NOTES: Bad enough that Trask walled up poor Barnabas behind that wall, but was it really necessary to come back and continually taunt him? I can't remember if Barnabas did the same to Reverend Trask when he walled him up, but I sure hope so.
I feel Julia's desperation, fury and frustration as she tries to find Barnabas. I don't imagine it will take him too long to die in those conditions, and the irony of his situation didn't escape him, either. The scenes with Barnabas trapped in the wall were very disturbing and sad to see. Great performance by Frid, Hall and Lacy, too. And Gerard is doing a great job driving us crazy pretending to be Quentin and Daphne's friend. At least he admitted the truth to Samantha.
Now that Trask has caught Daphne with Quentin's note to Joanna, is his fate as a warlock be sealed? It won't look good, surely, but one would hope that Daphne and Quentin will figure out this betrayal could only have been Gerard's.
Good stuff.
Love, Robin
