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We're still in 1897 - where you most of you will recall Barnabas is SUPPOSED to be looking in the past for the reasons why Quentin's spirit in the present (1967) is being so troublesome and taking over David, the overacting 13 year old. Also, I found a site with a quick primer on the plot to help you catch up if you want


Feb 17-21: 

Many many things happen this week. Equally interesting - or puzzling - to me is what DOESN'T happen

Nora unties the pretty wrapping paper - only to find the pretty wooden box (that we know contains The Hand) but which is locked and so - unlike any REAL child (who would have pried it open with any handy implement), she returns the wooden box unopened to the wrapping paper and re-hides it.

Speaking of hiding - where is Angelique these days?

Meanwhile, Aristede is strutting proudly through the woods, puffing on a cigarette when Jamison (Petofi) arrives demanding to know what is so important that Aristede disturbed his rest (SO important after 100 years hard slog to rest when and where you can). Aristede informs the cranky Count that Tim Shaw has returned to Collinsport and The Hand is once again within their grasp! (no pun intended). Jamison Petofi can't believe Tim would be so stupid as to just waltz back into town when he must know how many people want that hand and how badly. Me - I believe Tim would be that stupid. He's good-looking but not brainy after all and we've seen that long-term thinking isn't exactly his forte. Latin Translation on the other - um, hand. But since they decide Tim must be diabolically clever, they decide on working on Amanda - or rather, Aristede will work on Amanda while Petofi (in his Jamison guise) will keep Tim otherwise occupied.

Speaking of otherwise occupied - where is Angelique?

The two slink evilly (and obviously) into the Inn. Jamison/Petofi spots Tim in the bar so Aristede hurries upstairs to catch Amanda alone. Jamison/Petofi waltzes into the bar and Tim is not unsurprisingly shocked to see him - after all, Jamison is only 12, it's a bar, it's the middle of the night and Nora mentioned he was sick (Jamison/Petofi is very interested to hear that Tim has spoken to Nora). While the two of them make small talk, Aristede is being very sinister and threatening. He's accepted the fact that Amanda's never heard of The Hand and doesn't know about it specifically but he feels sure that she knows something that will lead him to it. He orders her (on pain of - something more dreadful than death) to remember and report everything she can about whom Tim has seen or where he's gone since they got to town. She doesn't have anything interesting to share except that Tim did ask her to hide a box, which he then took off with - after rudely taking her locket with him. Interesting? Aristede thinks so.

Meanwhile, Jamison/Petofi and Tim are gossiping about Trask lording it over everyone at Collinwood when Aristede comes down. For obvious reasons, he and Jamison do not "know each other. Tim remembers Aristede though and greets him. "We met in the Blue Whale and I delivered a message for Quentin." Aristede says that of course he recalls it well but almost didn't recognize Tim in the snazzy new clothes. They laugh together heartily and very insincerely. "If you're going to be in town for a while" says Aristede, "perhaps we could get together for a drink - good night." Aristede leaves. "Very strange man," observes Tim. "Who was he?" Jamison/Petofi asks innocently. "I met him only once", answers Tim, "and I'm not sure I like him." He glances at his watch again and notes that he must go find Amanda. Jamison/Petofi bids him a fond farewell, expresses the hope that he will see his former teacher again at Collinwood and as Tim leaves, he grins into the camera - my, what a lot of teeth he has!

Jamison/Petofi and Aristede meet up in the woods and compare notes on their respective conversations. As a result, Jamison/Petofi concludes that Tim has given the hand to Nora and he goes back to Collinwood to fetch it. Playing the bullying big brother to the hilt, Jamison/Petofi gets the hand from Nora and rushes out to meet Aristede so they can - well, re-install it, so to speak. But he's only half way through the woods when he becomes so weak that he collapses. Quentin and Barnabas find him and take the hand but fearing that Jamison will die if Petofi dies, Barnabas decides to give the hand to Aristede and Petofi. He leaves to deliver it while Quentin takes the unconscious boy home. Aristede performs a ceremony giving the hand back to Petofi's body. Later Petofi emerges with the hand re-attached. And I feel I must point out that it looks even more fake ON someone than it did sitting in the box.

Despite Petofi's recovery, Jamison lies at Collinwood still near death. Barnabas rails against the unfairness of it all and demands that Petofi cure Jamison. In fact, Barnabas says Petofi OWES it to Jamison and as a result, Petofi rather petulantly refuses to do anything about it. And just to show that he is a big bad, he goes one step further and takes away Barnabas' power to disappear. Petofi shows Barnabas a vision of what is happening in 1969(David Collins is near death) and says that he will save Jamison if Barnabas will tell him how he is able to transcend time. Barnabas tells Petofi that while he did come back through time, he's not entirely sure how it worked or that he can get it to work again. Petofi scoffs at this and says that Barnabas should go and think it over while Jamison still has time. Unable to "vanish" Barnabas gathers his vampiric dignity and walks out.

Look - I know that she wrote off Barnabas and decided that Quentin was her man, but shouldn't' Angelique be taking some minor interest ion all this?

Quentin paces nervously at Jamison's bedside, imploring the boy not to die and declaring that Jamison is the only one who has ever meant anything to him. After this touching (if bizarre) confession, Quentin wonders out loud if Barnabas will be able to deal with Petofi successfully.

Petofi isn't one to sit around waiting however and forces Magda to take him to Barnabas' coffin where he places a cross on Barnabas' heart and chains the coffin. He suggests that a little downtime in the coffin and an inability to move or get out will help Barnabas think things through a tad faster. Still, why should Barnabas have all the fun, right? Just to keep everyone hoping, Petofi causes Jamison to become possessed by David Collins. (confused? HA! You don't know confused yet.

Jamison, napping in the drawing room, awakens with a terrified cry. Nora runs to his side. "Quentin, get Quentin", he cries. She's afraid to leave him alone, but he assures her it's all right. As she's running out, he asks her where she's going. Puzzled, she says that she's going to get Quentin as he asked. "Call him on the phone like we always, do, Amy!" he cries. She's confused. Her name is Nora. Not Amy. (See what I mean about confused) Nora gives her brother a long concerned look. Jamison who thinks he is David says, "Don't play tricks on me, Amy." Nora wonders who he is and he says he is David. She's freaked out (as you would be too after all this) and she leaves to get Quentin but Jamison/David again insists that she use the telephone. Nora stamps her foot, frustrated. "But he's here in the house", she says. Jamison says, "I know that--everyone else is away, Quentin drove away Liz and Roger." Nora wonders what the heck he's talking about. He shakes her by the arm and says, "Call him!" Nora runs away. "AMY!" cries Jamison. Alone and very weak, he drags himself to the phone and calls to Quentin as he does in 1969. He loses his strength. Quentin comes running in with Nora steps behind. Jamison is happy to see him. He asks Quentin, "Why is Amy back in the house?" It's Quentin's turn to use the "confused face. "He thinks he's David and I'm Amy." reports Nora. "David Collins?" asks Quentin, remembering Barnabas' mentions of him and the dream Jamison had weeks ago. Quentin encourages him to lie down and sends Nora to her room. She turns and asks, "Who is David Collins?" Quentin admits that he doesn't exactly know and Nora, feeling better that she is not alone in her ignorance, runs along. Quentin calls to Jamison, but gets no response. "David", asks Quentin, "do you know me?" Jamison awakes and says, "Yes, you're Quentin." Quentin asks HOW David can know him but Jamison is asleep and doesn't respond. Quentin looks at him, perturbed.

Meanwhile, Nora has gone to her room and is explaining to the anachronistic Raggedy Ann doll that Jamison is ill but will be OK. Tim arrives to fetch the hand and Nora confesses to Tim that Jamison took the hand from her. Tim is ENRAGED but manages not to take it out on her beyond ranting and pacing. He rushes downstairs to yell at Jamison but Quentin stops him and suggests that if it's the hand he's interested in, he should try the abandon mill on North Road. Tim rushes out (without questioning why Quentin is being so helpful). Once again, Jamison wakes up thinking he is David and he and Quentin have another one of those "how can a boy from 1969 know me, a man in 1897" conversations. When Jamison passes out again, Quentin decides that he can wait no longer for Barnabas to fix things up with Petofi and brings the boy the Count himself to beg for Jamison's life.

Jamison, stirs on Petofi's couch and calls to Quentin in a lost little voice. "He's calling to you from the 20th century", says Petofi, "so there must be a Quentin in that time." Quentin doesn't know whether there is or not but mentions that the boy does seem to recognize him. Petofi wants to know more about that other Quentin Collins and tells Quentin to ask the boy. Jamison however has passed out AGAIN. Quentin is very worried about how weak and far away the boy is getting. "There must be a way to make you save him", says Quentin desperately. "Surely you want something from us." Petofi's eyes light up and he tells Quentin that he'd be happy to save Jamison if Quentin can convince Barnabas (still trapped in the coffin now sitting in the next room) to take him (Petofi) to the future with him. Quentin is willing to try of course and Petofi lets the two men talk together but prevents Quentin from doing anything to free Barnabas. Quentin isn't happy about Barnabas being trapped or about Barnabas not being able to help save Jamison. Barnabas isn't all that thrilled either but he has the added burden of also keeping Quentin from finding out that he (Quentin) is a ghost in 1969 attempting to kill David Collins. And so there we are - Jamison is possessed and dying, Barnabas is still insisting to anyone who asks that he does not know how to get back to the future and Petofi still insists that he does not believe this.

Quentin has brought Jamison back to Collinwood and asks Beth to sit with the boy while he goes to find some answers SOMEHOW. Beth, being good hearted and kind, is happy to do so. Quentin has obviously told her a bit about what's wrong because when Jamison wakes and recognizes her as Beth, she is thrilled! "You know me," she says. "Of course, says Jamison. "You aren't delirious anymore, notes Beth, "Quentin will be so happy." Jamison asks her if she'll answer a question and she says of course! "Does it hurt when you die?" Jamison asks. This upsets Beth, who urges him not to worry about things like that and to concentrate on getting better. "Besides, I can't answer your question", she says, "how could I? I never died." Jamison sits up a bit straighter but it exhausts him. "Yes you have", he says, "Quentin says you killed yourself." NEWS to Beth who tells the boy he must have dreamed it. "No, Quentin told me you killed yourself. Why did you do it?" asks Jamison. Beth doesn't know how to answer him. And frankly neither do I. Not due to the bizarre nature of the question as much as the issue of who the hell I would be answering. You never know who Jamison is going to be. Which of the many personas is asking? 

  1. himself, the madcap mop top of the Victorian Collins' 
  2. a boy he's never heard of but greatly resembles from 80 years in the future?
  3. a large man in coke bottle glasses with puffy lips and elegant taste in accessories

Beth is spared having to decide whom she's talking to when Quentin enters. And doesn't she give him what for about telling Jamison she'd committed suicide. This understandably confuses Quentin since he doesn't recall saying any such thing and clearly she isn't dead at all. He reminds her that Jamison's been so sick that what he says shouldn't be taken seriously. "He knew me", she says shakily. "He called me Beth, and then he said I died!" Quentin looks interested and worried at the same time. Beth notices and says that he looks as if he saw something terrible in her face. She puts her hands on his chest and says, "I'm frightened, I feel as if something terrible is closing in on us--hold me close, she begs, never let me go!" And for a moment, they embrace and it looks very much like they may stay that way for a while.

Barnabas, tiring of being trapped in his coffin (and most likely suffering from cramps to wake the undead) uses his mental powers to summon Beth to break him out. So the endless embrace is broken and Beth wanders away glassy eyed. Quentin calls after her but he doesn't follow since at that precise second, Jamison has snuck a quick peek at the teleprompter and called Quentin's name. "Why is it so dark?" asks Jamison and all his inner selves. Quentin turns on the lights but the boy continues to ask why it's so dark and says he is frightened. Quentin tries to reassure him, covering him up and urging him to go back to sleep. "The way you look frightens me," says Quentin to himself, "Barnabas says Petofi won't let you die, I wish I were so sure." And suddenly, Quentin is struck by a clue. "Barnabas summoned her", he realizes!

Petofi catches Beth trying to open the coffin and stops her. To keep her from trying to help again. He shows her a vision of the future (or so he says) where Barnabas turns her into a vampire. She's incredibly frightened by this vision and runs away without helping Barnabas at all.

Sigh. I don't mean to belabor the point but hello? Angelique?

Charles Tate is putting the finishing touches on the portrait of Quentin and just for a second, he thinks about destroying it. At that moment, however, Petofi arrives in a fine mood and wants to show off the newly attached hand. He also warns Tate not to consider destroying the portrait. Tate shifts guiltily around, denying he thought any such thing and Petofi suggests he get back to what he was doing - as long as he is able. Sounds like a threat to me.

Beth is back at Collinwood arguing with Quentin in the drawing room. She is quite insistent that she will not help free Barnabas and she thinks that the best thing to do is for the two of them - she and Quentin - to flee from the dark misery that is Collinwood. And she says with a bright smile, they'll take Lenore (the girl child with Mrs. Filmore - she has a name! How nice!) with them. Quentin says that it sounds like a nice dream but reminds Beth about the curse and the moon and all. She claims that they'll find an answer as long as they are together and believe. She runs form the room and he catches up with her in the foyer ('cause she wasn't running very fast) but she refuses to stop crying. He stalks out, unable to take more tears and unwilling to listen to her fantasy about happily ever after. Beth calls after him but he's gone. Charity stands up on the landing, watching. Beth bursts into tears again and starts up the stairs. Charity stops her and says she wants to talk to Beth "What about?" asks Beth. "You and Quentin", replies Charity, "And you must listen - your life might depend on it." Charity does her best to warn Beth about Quentin being the werewolf without actually coming out and SAYING the word but Beth thinks Charity just wants Quentin for herself. Charity insists that it isn't so - admits that she found him handsome at some point but "when I see him now, I see another face, ugly, cruel animal." Beth realizes that Charity may actually KNOW and suggests the girl not spread malicious rumors. Charity tries once more but Beth leaves.

Tate is still painting as Petofi looks on. A knock at the door startles both men. Petofi hides (realizing that he is NOT the most popular man in town these days) and Tate answers the door to admit Charity. She's come to tell Tate that she doesn't want her portrait painted after all - not by him. He wonders if she doesn't think he paints very well and she says that it is quite the opposite - he paints far too well and he may see in her a secret like he did in Quentin. Tate asks what she means and she reminds him of the day she saw the portrait change. At the time, she allowed her self to be convinced it was imagination but now she knows it wasn't. "I must tell someone or go mad!" she cries hysterically. Petofi listens in the other room. Tate says she can tell him but she says she must leave since her Father is expecting her at home but she warns him again "Stay away from Quentin Collins, he isn't good for you, or for anyone else - On nights when the moon is full, stay inside and keep your doors locked." She runs out and Tate standing there, puzzled. Petofi comes out of the room and Tate isn't puzzled anymore. "So that's it," says Tate. "I knew the moment that portrait changed that Quentin had some vile secret." He glares at Petofi and the portrait in turn "And now you think you know what his secret is", says Petofi. "He's a werewolf, isn't he?" asks Tate (like he talks about them every day) "Yes", admits Petofi, "the unfortunate young man is afflicted with that terrible curse." Petofi then ponders how to keep Charity from telling anyone else what she seems to have found out. "That young lady was very agitated, she could think of nothing else, talk of nothing else, fortunately, she talked only to you, but I must deal with her immediately." Tate demands to know what Petofi means exactly. Petofi smiles widely, showing many bad teeth. "Do you remember the story of Echo, a nymph that talked too much?" asks Petofi--she made the gods angry and they were forced to deal with her-much to her eternal sorrow." When Tate said exactly, I don't think that is QUITE what he meant.

Petofi comes for a visit to Collinwood. Quentin is less than thrilled to receive him - being a little preoccupied with Edward being mad as a hatter and Jamison being so ill. Petofi suggests that they may recover in time so why worry about them. He also suggests that Quentin should focus a bit more on Quentin and the fact that Charity has been blabbing despite threats to expose her Father's role in Minerva's death. Quentin says he knows that because Charity talked to Beth but it's OK because Beth already knows. Petofi tells him about her visit to Charles Tate as well but when Quentin gets agitated, Petofi soothes the ruffled mutton chops (figuratively) and says he has the situation under control. "I will deal with Charity", Petofi assures him. "Who will deal with Charles Tate?" asks Quentin. Petofi says, "There's no reason to worry about him. I will deal with it because I'm determined nothing will happen to you. As flattering as that is, Quentin asks why Petofi is so interested in keeping him in fine fettle. Petofi explains that there is no longer any question in his mind that Quentin is part of the future. "The ghost of David Collins knows you well so something impossible has happened. Perhaps together, we will find out why." Charity comes in and launches an immediate verbal attack on Petofi and he finds it as tedious as I do because he reaches out his nubbly ugly hand (where ARE those gloves where they are really needed?) and she is suddenly left speechless! As he touches her throat with his hideously deformed hand, she screams silently.

Petofi causes the silent Charity to see several visions - one where she sees Aristede killed by a hooded figure and one where she sees the same hooded figure chop off Petofi's hand. She screams out loud! Petofi is concerned about what she has seen since it clearly wasn't what he intended to see and he puts her in a light trance before rushing out past a startled Quentin. Quentin goes into the drawing room and looks for Charity - and she pops out from behind the curtain in Pansy Faye mode. Looks like Petofi has put her back in the crazy column. She's flirting madly but Quentin is having none of it and rushes out to fetch his coat.

Petofi gets back to the Old Mill and tells Aristede that their enemies - the gypsies - are approaching and they must take care. Aristede doesn't see why they can't just leave but Petofi is quite keen to hang around a bit longer to see if he can't persuade Barnabas to take that little jaunt into the future. Besides, all the gypsies REALLY want is the hand so why not give it to them. The two men dig up a recently deceased person and take the hand off the corpse. A show of hands for "ewwww"? Thank you.

Quentin arrives at the Old House and tells Magda that something frightened Petofi. He tells her that if they act now, while Petofi is distracted, they can rescues Barnabas. They are about to make a there's one knock at the door. Quentin goes to check it out, and finds a note stabbed into the door that says, "Between life and death, there's not room for a flea to jump." Magda gasps! "It's from the gypsies, from King Johnny Romano's tribe. They have come for the hand. And for me!" she cries out!

Petofi knocks at Charles Tate's door a few times and finally Tate calls out "Come in" without actually answering. Petofi begins to remark on this lack of manners when he sees that Charles is utterly absorbed in a sketch. "Oh, her", says Petofi, looking over Charles' shoulder at the sketch he's working on. Gee! That looks like Amanda. "I never understood why you persist in painting that same portrait over and over again." Tate doesn't even look up. "You're a grown man", Petofi continues. "Only little boys invent "ideal women." Tate doesn't want to discuss it again. "I like to paint her because she's the only thing in this world that really belongs to me." He glares at Petofi who just looks back tolerantly. "She doesn't exist", he tells the agitated artist softly. "She exists to me!" retorts Tate. "I must tolerate your childish fantasies since you serve me well. I hope someday, Charles, you will be less bitter", remarks Petofi. Tate demands to know what Petofi wants now and Petofi says he has a project that needs the touch of a master's hand. Oh GADS. They are going to paint the new hand? Double Ewwwww. Even Tate says it's more grisly than Petofi's usual request.

Amanda, meanwhile has had enough of the whole Trask escapade and besides she is bored so we find her busily packing to leave when Tim walks in. They argue about her leaving. He promises - again - that it's not for much longer and by golly if she doesn't cave in again. I don't know why. I mean, I know what I am supposed to think convinces her. I am supposed to think it's the seriously unnecessarily long kiss that Tim lays on her but I've seen more skill exhibited by pre-teen in the move theatre (not that I'm really LOOKING for goodness sake but some of these kids are - um, well let's just say they aren't waiting until the lights lower for the trailers. Children are so sophisticated these days, aren't they?). But I digress - Tim kisses her, she agrees to stay and just as she is all warm feelings and willingness, he asks her to go see Count Petofi. Atta boy, Tim.

Magda spends the night worrying about the note she got and she decides to see if Count Petofi might take pity on her since they are now running from the same people. He doesn't see things quite that way and just t make sure that Magda doesn't squeal on him to save her own hide (and let's face it, she would and so would I), he puts a spell on her so that she can't say his name or reveal that he has the hand. Ha!

Speaking of spells - has anyone even heard from Angelique lately?

Petofi hears another visitor arrive and ushers Magda out quickly. Amanda enters, dressed exquisitely and for some reason, heavily veiled. Petofi is intrigued and asks who she is. "My name is Amanda Harris", she says. "Tim Shaw directed me here." Amanda lifts the black veil covering and Petofi is stunned. His already bug like eyes widen even more, his mouth drops open and he stares. She seems a bit taken aback by this reaction - it seeming a tad extreme. He apologizes and says, "Amazing! Come closer, I won't hurt you. It's just so astonishing. You're very beautiful, one might almost say, the ideal woman - have you had your portrait painted? She says that she hasn't and he asks her to sit down. She seems to hesitate but after all, it can't be the first time someone stared at her. She is good looking - so she sits. Petofi beams happily at her. "When did you first meet Charles Delaware Tate?" he asks genially. "I don't even know the name", she says. Petofi is further astounded and asks where she is from? When she tells him that she was born and brought up in New York he concludes that Tate must have seen her there. She doesn't see why he is so interested in her origins (and I notice that Miss Amanda doesn't like talking about her past very much). "I have only half an hour", he says. "Kindly state your business." Well, so much for being the ideal woman. "You're a strange man", says Amanda. She stands and faces him squarely. "I need your help. I'm in love with Tim Shaw (gag me - after that teenybopper kiss? Puh-leeze). "Then he's very fortunate", says Petofi. "I want to get him away from here", she says anxiously. "He came to get revenge on someone and I'm afraid for him - he might get hurt or killed." Petofi (reasonably in my opinion) asks what this has to do with him and Amanda says, "Tim told me that you have has a talisman of great power that will ensure his revenge. Let him use it just once. I'm so afraid of living in danger. Help me get Tim away from here!" Petofi says that she must indeed be in love with him and he wonders if Tim has told her anything of this talisman. She says that she knows nothing expect that it is powerful and Tim says he needs it. Petofi dramatically flings off his glove and shows her the hand. "It has great power", he snarls, "Too much to be meddled with by the likes of Shaw. I'm not surprised by his clumsy attempt." (me neither - I mean, what an idiot). Petofi re-assumes his glove saying, "Once I congratulated Shaw on his choice of enemies. Now I congratulate him on his taste in women, but his conception of strategy is pathetically inadequate." Without another word, Amanda leaves. Petofi bows and says, "I hope we meet again."

Magda returns to the Old House and finds it in shambles. It has been searched! And look! A strange swarthy man in colorful clothes made of cheap velvet and silly boots! It must be, it's can't be, it is! It's King Johnny Romano! Magda immediately starts begging for mercy. Has she seen those clothes? That man has no mercy or he wouldn't subject the rest of us to the sight of it. "You will get to live your miserable life a little longer", Johnny assures her, "not because of pity (see I told you), but because we don't have the hand. If you return the hand willingly, and don't deceive us again, then maybe your punishment won't be so severe-but because of Julianka's death, there is no way for you to avoid going on trial." Magda would love to tell him where the hand is and who really killed Julianka but she can't. "Kill me now, then", Magda begs, "because I ain't got the hand and can't get it for you." He says she lies and she points out that he already searched the house and didn't find it. "I'm going to search again", he says, "and while I'm gone, think again, think well, if you can't remember where the hand is, then maybe I won't have to take you back for a trial." He tucks the knife under her chin and adds, "Maybe King Johnny will kill you right here!"

Amanda reports her failure to Tim and asks Tim what he's going to do. He says that he must stay and she wants to know why Trask is so damned important that he'd risk his life to get revenge on the man. "He was responsible for the deaths of two people", says Tim, "one of whom happened to be very close to me. I loved her very much." Amanda makes a pouty face that is singularly unattractive. "I wasn't in love with her", amends Tim. "It was a kind of love." Liar! Liar Pants on Fire! Amanda says that she understands and then announces that she'll stay as well. She tells a delighted Tim, "You refuse to understand the danger you're in, and I can't protect you, but perhaps I can, in time, convince you to leave for your own good." She does ask Tim to have nothing more to do with Petofi who she says is "the most frightening man I've ever met. He kept asking me questions about my past, but the way he asked gave me the feeling he was seeing deep inside me." Ewww. "Petofi's questions weren't unusual", says Tim. "But before two years ago", says Amanda, "I don't remember anything about my past." She looks at Tim, who is perplexed. Or maybe he just can't recall his line. It's the same kinda look

Johnny returns to the frightened Magda empty-handed, and slaps her around a bit to improve her memory about who has the hand. Just as he is about to raise it, he spots the ornate wooden box. No is more surprised than Magda to see it. He decides that she had second thoughts and placed it there while he was searching again. She denies it - naturally because she didn't do so. He opens it, then closes it and moves aside. "Look for yourself", he says. She does, staring at him, opens it and gasps-the hand lies inside!

And I am left wondering - Where oh where has my Angelique gone. Oh where oh where can she be?

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