844 - Before Tim and Charles' disbelieving eyes, the creation moans in agony and disappears, fading away. You're an idiot! says Tim--this is incredible. It DID happen, says Tate--I'm in shock--what's happening to me, what have I become?--please, give me a drink. Tim hands him some booze, which Tate drinks eagerly. We have matters to discuss, says Tim--now. You murdered a man, says Tim. No I didn't, retorts Tate. What do you call it? asks Tim. He wasn't a man, explains Tate, in a real dither--he was an idea that took form, he never existed, and this never happened and never will again. Let's talk, Tim suggests--perhaps we can incorporate this into your sense of well-being. How? asks Tate. Talk to me right now, suggests Tim, pouring another drink. I don't know many people in Collinsport, admits Tate--I know one very well, unfortunately--I met him 10 years ago; if I'd only known then... Tim hands Tate another drink.. What happened 10 years ago?" asks Tim. The person I created actually came into being then, says Tate, I was living in Paris, trying to paint. . .a man came up to me and introduced himself-- He said, "My name is Count Petofi."
Quentin's room - I must learn why Julia Hoffman came here from her own time, insists Petofi. Annoyed, Quentin says, she came here to save Barnabas from Edward. And she did, says Petofi--remember, Quentin, any friendship between you and Barnabas is impossible, there is nothing left. But hypocrisy and lies, huh? asks Quentin. Sorry if that pains you, says Petofi, but that's the way it is. I'm not sure how much I can help you, says Q, because I'm not sure how much Barnabas trusts me--he hasn't told me where his coffin is. I am very sure, says Petofi, that Barnabas will tell you what I want to know, since you are a man of such considerable charm--speaking of that, your bitterly disappointed Miss Chavez is working for me now. She's working for you now? asks Q. Yes, says Petofi, and coming to me was the wisest decision she ever made--send word to Barnabas--persuade him to meet you here--when he comes, warn him that Edward is still determined to capture him--it's not far from the truth--I'm sure Edward would like nothing better than to capture Barnabas--but he will have to remain frustrated--"Barnabas Collins is mine!"
Charles continues to drink, growing more mellow and effusive in Tim's company. Tate notices Tim isn't drinking. You know what I see behind your face? asks Charles--someone who wants to be more than my friend.
I am your friend, says Tim, continue with your story--what happened after you drew the vase? Tate laughs drunkenly--no, he says, I won't tell you anything more--you know everything that happened, and you'd better not tell anybody, he warns, slamming his fist into the table. Of course not, Tim assures him. And don't tell anybody about Amanda, either, adds Charles--she might get hurt if you do. Do you think I'd do anything to hurt Amanda? asks Tim. I'm not sure what you'd do, says Tate, but if you do tell anyone, I'll kill you! He points his gun at Tim to underline his threat.
Petofi notices with interest that Barnabas' portrait is gone from the wall in the foyer. Edward had it taken down, says Quentin, after his experience with Barnabas. Good, says Petofi, I've worked carefully to isolate Barnabas Collins--that is why Julia must not be allowed to interfere with my plans, and why you must find out everything I want to know. Quentin looks miserable at having to kowtow to this creature.
Tim sits in his hotel room, playing with a pencil. Someone knocks at his door. He laughs, not answering the insistent knocking, but finally opens it--it's Petofi, who says, I received a note telling me to come here. Tim admits to sending it. People generally come to see me, says Petofi--I was amused by your presumption, so here I am--was it really necessary to keep me waiting?--what are you trying to prove? I want to discuss the beginnings of a business deal with you, he explains. You and I, a partnership? asks Petofi--what do you have to offer me?--I can't think of a thing? How about an army? asks Tim, of innumerable, invincible soldiers--does that interest you? Petofi grins. With that, says Tim, you could control the entire world. What is all this talk of armies? asks Petofi. Then you are interested in a partnership? Asks Tim? Presume nothing, tell me what you have to say, demands Petofi It has to do with Charles Tate, reveals Tim. Petofi is startled. Tim says yes, I know of your "arrangement" with him--he told me, and I know things you don't know--the man can create human beings! Charles told you that? queries Petofi--and you believed him?--poor Charles. No delusion, says Tim--with pad and ink, he can create a man out of nothing--I saw it myself. He created such a human being? Asks Petofi. Yes, says Tim, but that particular one is gone. Petofi doesn't believe it. I can prove that Tate can manufacture persons, says Tim--any kind of person you should desire--I swear to that. Petofi exhibits a "certain element" of interest--it's a pity the man Charles created is gone, a pity, but there is still Amanda. What about her? asks Tim. If you believe Tate possesses this ability, you have to admit his most beautiful creation is Amanda Harris, says Petofi. Tim ponders that one.
Quentin's room - Why did you ask me to stop by? Barnabas pointedly asks Quentin. I'm worried about you, says Quentin. I'm managing, Barn assures him. Surely there's something I can do to help, asks Quentin. For the moment, says Barnabas, Julia is providing all the help I need. I have the feeling you don't trust me, says Quentin. I do, Barnabas quietly assures, but in my position, I must be careful. With me? asks Q. With everyone, says Barnabas. I understand, says Q, but "everyone" didn't free you when Edward held you prisoner--you can forget many things if you want, but you can't forget the fact that we had each other for friends when there was no one else to rely on! Barnabas apologizes--my fugitive existence has made me far too suspicious, he confesses.
You should be, says Q, Petofi is a dangerous enemy--he's still very determined to deal with Julia, as Edward is to deal with you--he has a new plan of action, but I don't know any of the details yet. Let me know when you find out, says Barnabas. Of course, promises Q, then asks, do you and Julia have any plans--you should keep moving, not wait around to be destroyed. Where? asks Barn. Back to your own time, suggests Q. I must go now, says Barnabas--I have a feeling evil forces are at large tonight--thank you for your concern--we'll see each other again, very soon. Barnabas leaves. Quentin looks at his portrait--did I find out enough to satisfy Petofi? "I doubt it--you don't even make a good traitor," says Q bitterly, and covers the painting back up again.
A gloved hand caresses the door knocker at Collinwood. We see an exquisite woman, dressed completely in black, smiling. (KLS is back, looking stunning!) All right, Kitty, she tells herself, you're at Collinwood--go ahead and knock--nobody is going to suspect a thing. Quentin answers The door and invites her in immediately. Who in this place would know a pretty thing like you? he asks. I'm looking for Edward, she says. He's away until tomorrow, he says--might I be of service--I'm Edward's brother. Quentin or Carl? she asks. Quentin--Carl is dead, he says sadly. She apologizes. You know a great deal about the family, says Q. I do, she says, and was hoping I might visit, but with Edward away... I can arrange a room for you, says Q, whoever you are (any port in a storm)? She laughs. I'm Lady Kitty Hampshire, she says--Edward was a very dear friend of my husband's, and I hope, a very dear friend of mine, too. Quentin notices the mention of her husband in the past tense. Poor Gerald is dead, says Kitty--after his death, I felt such a stranger in England, and terribly lonely--I'm an American, so I decided to come home--yes, she says, looking possessively around Collinwood, "I decided to come home."
It isn't sufficient to know that Barnabas Collins has no immediate plans to return to the future, Petofi tells Quentin. "He wouldn't tell anything else!" says Q--he was very nervous, but I will find out more. And I must patiently wait while Barnabas fobs you off with excuses? demands Petofi. You'll have to wait, insists Q. No, his enemy may be closer than he thinks, says Petofi--I've decided--Barnabas must die--when he does, Julia Hoffman will turn to you because there will be no one else--then I can find out how to get to the future--Julia will talk when Barnabas is dead (I tend to think she'd clam up). Petofi helps himself to a drink. How do you intend to kill Barnabas? asks Q. I'm not going to, dear boy, says Petofi--you are! Oh, no, says Q, I'm not! Petofi asks--are you beginning to doubt my powers? No, just pushed them a bit far, says Q. How quickly men forget, says Petofi. He drains his drink, breaks the glass and slashes Quentin's face with the shard. Quentin cries out in pain, holding his face, but there's no blood!
Petofi uncovers the portrait and shows him that there's a bleeding, gaping wound on the face in the portrait. "This could be you!" cries Petofi--do you doubt my powers now? Quentin stares, shocked, horrified, and answers, "No." "Barnabas Collins must die," insists Petofi--"I expect results." And he goes, leaving Quentin staring at his portrait, holding his unmarked face. (Powerful, itensely creepy scene!)
Kitty comes out of the drawing room and runs into Petofi. "YOU!" she cries, looking at him with hatred. How pleasant to see you! he exults. You can't be here! she says. But as you see, my dear, I am, he says. What are you doing here? she demands--but I don't need to ask that, do I? I've become involved with several member of the Collins family, he says. Then I pity them, she retorts. I was sorry to hear of your husband's sudden death, says Petofi. "What choice did you leave him?" she rants--"Public disgrace or death!" Your obsession with my supposed crimes has become rather boring, says Petofi--don't pursue it further. Have you met all the Collins men? he asks, Edward... I find this hallway stifling, says Kitty through clenched teeth--I need some clean, fresh air. And she walks out on him.
Barnabas, out in the woods, hides when he hears Kitty coming. She spots him, however. I've gotten lost, she says--can you help me? She smiles at him. Do you live at Collinwood? She asks--I guess that a strange question, considering I just came from there. He stares at her, amazed. (Josette Clone Alert!!!!) Are you staying at Collinwood? he asks. Yes, she says flirtatiously. Are you a friend of the Collins family, asks Kitty--why are you staring at me? He apologizes for staring, but admits, "You're very beautiful."
Kitty likes that answer, and thanks him very much. Who are you? he asks. No, I won't tell you--now, she says saucily--walk me back to Collinwood. I can't tonight, says Barnabas, dying to do as she asks--follow the path, it will lead you to the house. Yes, of course, she says, her manner icy--"Good night." He stops her. Are you staying at Collinwood long? he asks. My plans are vague, she reveals, I don't know--I may be leaving by tomorrow. She leaves him. No, you cannot go, says Barnabas to himself, now that I've found you again--"Josette!"
Quentin, still holding the flawless side of his face that Petofi slashed, comes downstairs. Kitty returns. She looks at the wall where Barnabas' portrait was, and asks, why was it moved? How did you know that? demands Quentin, do you know Barnabas? What a strange question, of course I do, she says. How do you know him? asks Q. "How do I know whom?" Kitty says--"I don't know anybody named Barnabas." "You just said you did," says Quentin, you asked why the portrait had been removed. Kitty haughtily says, I know no one named Barnabas or of any portrait. Suddenly, however, Kitty begins getting flashes of Barnabas' portrait...
NOTE: Love the new character being portrayed by KLS. She's got many layers, and a big surprise in store. Once again, Barnabas is going for the clone, to the intense unhappiness of Julia fans. Petofi's demonstration with the glass proved to Quentin that he's the man, and Q had better do as he bids him to--even if the order is as tall as killing his own cousin.
The side trip into Tate's talent for reproducing people and objects kind of bored me. Nicholas Blair would have loved the concept of a superhuman group of soldiers dedicated to working for Satan. Kitty has ulterior motives, of course, that's obvious from the start (Josette flashbacks?), but meeting Barnabas has already done something weird to her, and it's only gonna get worse.
Beth and Petofi, now there's a crazy pair! Is she really with him, or just pretending to be?
Barnabas is wise not to overly trust Quentin, but that's going to change, unfortunately. We're very close to an episode that will shock first time watchers.
845 - Quentin paces his room, wondering, can I kill Barnabas--how, after all he's tried to do for me? He gazes at his portrait, touches his face where Petofi cut him. He looks sickened. But it's an order, he muses, what right does Petofi have to give me orders? What difference does that make, I'm too terrified to disobey him, he can't let him turn me back to what I was. "Barnabas MUST die," Quentin says aloud.
Rectory - Barnabas calls to Julia. She comes in, doctor's bag in hand. You were late, she says, I was worried, you shouldn't take chances with everyone hunting for him. "If I hadn't been out tonight..." he says. Has something happened tonight? she asks. Barnabas looks like a man in a happy dream. Yes, he says, something incredible, that will make it imperative to change all our plans--I've met Josette again, she's come back to me. This stuns Julia--Josette died 100 years ago, she says.
I've just seen her, he insists. Trying to change the subject, Julia says, get ready for your injection. It IS Josette, he says, it's as if I were back in time again. Did she recognize you? asks Julia. No, says Barnabas reluctantly. Good, because the last time she saw you, she committed suicide because of you, Julia reminds him (ZING!) Because of what I had become, says Barnabas--we must change our plans. We will NOT, she says defiantly. I can't go through with them now, he objects. You MUST, Julia says. The injections, yes, says Barn, it's vital I can move around during the day (Julia gives him the shot), and be accepted at Collinwood, but the other plan is impossible. YOU made that plan, says Julia it accomplishes everything you want, (Barnabas rolls down his sleeves), you cannot change it now. But I must--I have no idea how long she'll be here, he says. Would you really rather lose everything? asks Julia. I won't, insists Barn. When I begged you to go back to the future, says Julia you told me the future of the Collinses rested on your defeating Petofi. I'll handle him in another way than what we planned, in such a way that I'll be allowed to see Josette--I can't chance losing her again!
Quentin looks at his portrait, shaking his head, angry with himself. He notices the scar on the face in the portrait, a souvenir of Petofi's attack. Someone knocks--Barnabas. Quentin asks if something is wrong. For once, not wrong, says Barn, eyes alight--something that changes my whole life, gives me a new reason to live and look forward to the future. Uh oh, says Quentin's guilty face. He looks away; Barnabas notices. Help me, begs Barnabas--will you help me? Quentin looks like he wishes he were somewhere, anywhere, else.
How can I help you? Quentin asks. Your houseguest, Lady Hampshire?--she's married to Gerald Soames, answers Quentin, but her husband is dead--she landed in Boston and decided to come to Collinwood--she wanted to see Edward. She was drawn to me, says Barnabas like a lovesick schoolboy--the reincarnation of the one woman I've ever loved--my Josette. That's very odd, remarks Quentin--your saying that after what she did tonight--she was walking the grounds, came to the house, looked around the room, and asked where your portrait was--Edward took it down days ago. . .she had never been to Collinwood before, how did she know the portrait had ever hung there? Because is was hanging there in 1796 when she lived, says Barn--I was right!--go to her tomorrow and tell her I want to see her--don't mention my name, I don't want her to know what I am. She's bound to find out about you, warns Quentin. I'll use another name, says Barnabas--tell her the man she met in the forest wants to see her again--I'm sure she will come to me. You're taking a big chance, says Q. You must do this for me, says Barnabas. All right, Q agrees, I'll try to arrange a meeting--how shall I contact you; where will you be at dusk tomorrow? Quentin clutches at an ugly looking piece of statuary and hastily says, no, don't tell me, I don't want to Know--I'll leave word with Julia where you are to come. No, says Barn, I don't want Julia knowing about this (secrets will be the death of you, B!)--come to my hiding place, continues Barnabas--in a cave, beneath the cliffs below Widows' Hill. Quentin tries to stop him from revealing all this, but it's out. Can you find it? asks Barnabas anxiously. Quentin nods miserably.
"Then I will look for you at dusk," says Barnabas--"Thank you, Quentin, thank you very much." Don't thank me, Barnabas, asks Quentin, then blurts out, "You must leave Collinwood--tonight! Please! You've got to leave Collinwood before you get caught, before...before something happens to you!" No, says Barnabas, nothing will make me leave Collinwood now--nothing. They look at each other. Quentin's face furrows with unhappiness. "You're very kind to worry about me, Quentin," says Barnabas, "but don't--I'll take care of myself." Quentin doesn't reply, causing Barnabas to give him an odd look before departing. "JUDAS!" Quentin accuses himself. "JUDAS!!"
Julia knocks at the door of Collinwood. Quentin, drink in hand, answers and invites her in. You're taking quite a risk, he remarks. Was Barnabas here?--is he gone? she asks. Yes, answers Q. And Edward? she adds. He's in Bangor, says Q, and very curious about you, so you're lucky. They enter the drawing room; he closes and locks the door. I didn't feel like staying at the rectory, says Julia, I don't know why Barnabas wanted to see you. . .that's not true, I do know, whatever he wanted had something to do with your houseguest--I hope you will be frank with me. "In other words, you want me to tell you exactly what he said," says Q, smiling slightly. It's very important, says Julia--Barnabas must not change his plans. "What are his plans, Dr. Hoffman?" asks Q. She turns away, not replying. I can't tell you, she says. You want me to spill everything, says Quentin teasingly, but you're going to tell me nothing--there seems to be something basically unfair about that. All right, don't tell me, says Julia, I have heard enough about it from Barnabas to guess--"I've been through this with him before, you know," she says resignedly--"He'll never forget Josette, he will ALWAYS be hunting for her." Persuade him to go back to the future, suggests Quentin--tonight, find him and make him." I tried, he refused, says Julia--you should know, you're part of his reason. Make him forget about me, insists Quentin. He won't forget about you or the family, says Julia--there's another solution--have the houseguest leave. She came to see Edward, who hasn't been here yet, says Quentin. Have her go to Bangor, meet him, suggests Julia. You're being unreasonable, says Quentin. It sounds that way, agrees Julia--"but I don't want anything to happen to Barnabas Collins--do YOU?" Quentin's eyes widen with guilt. No, I don't, he says. Then try, asks Julia, warn her that if she stays here there will be tragedy for her.
Quentin agrees to try to think of something--you must go, Julia. Barnabas may come looking for you, she says--please don't tell him I was here, and try to do something. She leaves. Quentin recalls her words--"I don't want anything to happen to Barnabas Collins--do YOU?" The last two words echo in his head, tormenting him. DO YOU?
? He covers his ears and his eyes roll in his head, as if he's in agony.
Quentin drinks. Charity leans down into his line of vision, reminding him, you were supposed to come see me at the Blue Whale. (When did she come back?) I couldn't, he says drunkenly. Yes, you had big business here, she agrees--with this. She flicks his brandy glass. "You treat me rotten, Quentin, I sang all my songs for you tonight, just for you, hoping you'd come through the door!" I'm sorry, he says. I sang and sang, she pouts, and never better. She sings "I'm gonna dance for you." Irritated, he asks, why did you come here tonight? To see you, she says. There's very little to see, he assures her. She puts her head on his shoulder and says, I don't agree with you. It's the truth, he says, there's nothing inside the skin, not even a heart, so don't look for it. You're awful to talk to me like that, complains Charity, with me trying to be nice and sociable to you and all--you aren't the gentleman Carl was, Lord rest his soul. And where did it get Carl to be a gentleman? asks Q--in the cold, cold ground. Don't you say it or think it, she commands angrily--I've been depressed all evening, trying not to remember--Quentin, she asks, do you know what happened 3 months ago tonight? My memory of the past is as dim as my chances for the future, he says morosely. How could you forget? she asks, Carl died--how could you forget that? I'm unfeeling, he says, but not as unfeeling as I'd like to be--and he takes another sip of his drink. She tries to take the glass from him--you've had enough, she says. No, never, he insists, moving away from her--drink to Carl, he shouts. Oh, no, you're insulting his memory, says a furious Charity. He stretches out on the sofa, drink in hand. There's so much evil, says Q, he's better off where he is now! It's thinking like that that's the reason the vampire is still on the loose, insists Charity--if people would change their thinking, the vampire would be caught now, like he ought to be! Do you think the vampire should be caught? queries Quentin. Are you serious? asks Charity. I can't remember all the reasons why we should get rid of the vampire, says Quentin. He's a murderer! she cries--he killed Carl, and all those other attacks, before I came to town. Yes, says Q, there were. Oh, you remember now? she asks. Yes, I do, he says--Charity, if you had the chance to kill the vampire, would you? You bet I would, she says vehemently, then my poor Carl could rest in peace. If you knew where to find him at dawn, his hiding place...? says Q. Hey, says Charity, you know where he is! No, says Q, shaking his head. Then why are you talking that way? she asks. I was just talking, says Q, rising from the sofa and putting down his glass. You sure sound like you know, opines Charity. Well, I don't, says Quentin, if I did, I'd go to the police. I get these feelings something, she says, and you know more than you're telling me. No, says Quentin, I don't, I think you'd better go back to town, it's getting late. I couldn't sleep tonight, she says, not thinking about Carl. He looks at her and asks, "You did love him?" And he loved me, she says sadly--I guess nobody ever had before--soon it will be dawn. She sees his face change and asks, what's the matter? Nothing he says, go home--go home. You're afraid of the dawn, like me, she says, it means a new day starting, except for people like us, who never get new days--we just go on, reliving the old ones... (this was a sad scene). Why are you staying up? she asks--why? Go home, please, he demands, pushing her away. She looks at him oddly, then drifts toward the door. Quentin stares out the window.
Dawn - Quentin creeps into the cave, stake and hammer ready. He puts down his weapons, approaches the coffin, opens it, gazes at the sleeping Barnabas inside. He takes the stake and hammer into his hands, places the stake's point against Barnabas' heart, and prepares to strike. His face shaking, he sends both weapons clattering to the cave floor, then closes Barnabas' coffin and says, "You faced whatever you had to, and I will, too!" He leaves the cave.
Someone else enters the cave, however--Charity. She places her hands on Barnabas' coffin, opens it, sees the vampire resting inside. Her face takes on a look of angry determination. She finds the discarded stake and hammer on the floor (good going, Quentin, leaving them there) and places the stake against Barnabas' heart. Her fury over Carl's death (which was Q's fault, too), compels her to do the job Quentin couldn't. Delight on her face, grunting happily with every stroke of the hammer, she pounds the stake into Barnabas' heart. We hear him cry out in agony as the sharp stake finds its mark, blood from his chest welling up around it.
We see Barnabas, blood running from his mouth, dead.
NOTES: Thus began a full month of misery for Barnabas lovers, because that's how long Jonathan Frid left the show back in 1969. It was a tough four weeks for me, and I don't even like the two-week Barnabas hiatus we get now, with two eps per day!
Selby turned in such an amazing performance in this episode, riveting! I gather Charity is living in town now, and while she had plenty of reason to want to destroy Barnabas, I always wished Quentin hadn't left his tools of destruction behind like that. The scenes between Quentin and Charity set the scene for the end of this episode. She hated the vampire for murdering Carl, and this was her revenge.
The ABC switchboard lit up like crazy at the end of this ep, with many calling in to find out what the hell was going on--was Barnabas really dead? Since I had no inkling of this, I was wondering the very same thing, but was sure that it couldn't be what it appeared to be! That was surely one of DS' most bloody, upsetting scenes, too.
Love, Robin
