994 - Quentin rushes into the drawing room to see someone sitting in the desk chair, staring straight ahead in a very creepy way. Dameon Edwards, says Quentin--how did you...
Quentin waves his hand in front of Dameon's eyes, then touches the motionless man, who immediately falls to the floor, apparently dead, his eyes wide open, staring at nothing at all. Quentin kneels to examine him, then calls the hospital--hurry, he urges. When he looks again, however, Dameon is gone. Quentin kneels and looks around, then out the window, but the man has definitely disappeared. He nervously runs into the foyer and back into the drawing room.
11:45 - Quentin runs downstairs and listens at the double doors. He hurriedly opens them and finds Trask, the butler, who says, I just got back half an hour ago--didn't Miss Hoffman get my telegram, explaining that the crisis in my family had been resolved and I'd be returning home this evening? Trask straightens a chair, putting it where it belongs. Miss Hoffman went away for awhile, says Quentin. (working on HODS) I should have guessed, says Trask, going over to another misplaced chair--Miss Hoffman never would have allowed the furniture placement to be altered from what Miss Angelique wanted (ANOTHER admirer?) Yes, agrees Quentin. I hope that it wasn't a family emergency that called Hoffman away, says Trask. No, she just needed some rest, says Quentin distractedly. Miss Hoffman, a rest? wonders Trask. Quentin, a tad annoyed, says, even she sometimes needs a rest, so I sent her to visit her friend--things have been unsettling here lately. I feel ashamed that I wasn't here when needed, says the butler. (who is dressed impeccably in a three-piece suit.) What's been happening? asks Trask. I want to know if you have noticed anything different since you've arrived back, asks Quentin. I can't say I have, says Trask. Nothing strange in the air? queries Quentin. No, says Trask. Do you remember a man named Dameon Edwards, an old friend of the family? asks Quentin. Suddenly guarded, Trask says, I remember Mr. Edwards as almost a daily visitor for a while. He was, says Quentin--do you recall he disappeared? Fixing drinking glasses on the bar, Trask says, I remember Edwards stopped coming--we haven't seen him in a year or so. Do you know what happened to him--do you know why he stopped visiting? Trask knocks over one of the glasses and says, I know no more than anyone else--which means I know nothing--may I ask the reason for these questions? Quentin crosses his arms over his chest--just plain curiosity, he replies. Trask looks uncomfortable--"If you say so, sir."
Amy, searching the floor outside Angelique's room, stands when she sees Dameon standing there. When did you get back to Collinsport? she asks. He doesn't answer. It's been so long, she says, where did you go? He gazes at her with very expressive eyes, silent. Every time I ask, no one had an answer, she says--I'm looking for a stone that fell from my ring--could you help me find it? She drops to the floor again--it has to be somewhere here. He starts to leave. Wait, she says, have you spoken to Quentin about all the strange things going on here?--Angelique died, did he know that? He moves away. Don't go, says Amy--Quentin got married again--to Maggie, and she went because--let me tell you about all the things that have happened! Mr. Edwards has disappeared. Where did he go? Amy wonders, calling to him.
Drawing room - Quentin belts down a drink as Trask asks him about Maggie leaving Collinwood after only a week. I'm not telling you to shock you or gain your sympathy, says Quentin, so please skip the exaggerated reaction--yes, Mrs. Collins has left, but will return. I certainly hope so, says Trask. When you see Alexis, don't keep reminding her how much she resembles Angelique, adds Quentin. Does she look that much like her sister? asks Trask. Very much, says Quentin, but she's tired of hearing about it. I understand, says Trask. Amy enters. "Miss Amy--no words to welcome me home?" asks Trask. Hello, she says--Cousin Quentin do you know about Mr. Edwards? He repeats the name. Don't you remember him? asks Amy. Yes, says Quentin, I do, but why should I see him? I just saw him upstairs, she explains--he just disappeared--are you sure you haven't seen him? Trask breaks a glass in his hands.
As Trask cleans up the broken glass, Quentin asks Amy, where did you see Mr. Edwards? I was searching for the stone missing from the ring my brother bought me for my last birthday, she says, and I was looking for it in the hall... Quentin takes Amy's hands in his and asks, exactly where did you see Mr. Edwards? "Outside Angelique's...I mean Alexis' room," answers Amy--"He wouldn't talk to me or help me look for it or anything." Trask listens intently as Quentin asks, where did Mr. Edwards go? I'm not quite sure, she says, now that I think of it, it was very quick and strange. Quentin, puzzled, says, stay here with Trask--Mr. Edwards was probably looking for me, so I should inform him I'm here. I suppose so, says Amy. Be sure and stay with Trask, orders Quentin. Nothing's wrong, is it? she asks. No, he assures her. Trask finishes up with the bar, cleaning the top of it. Quentin leaves. Trask goes to Amy and asks, are you quite sure it was Dameon Edwards you saw? Quite sure, she says--why? Trask twists the cleaning rag in his hands and says, we haven't seen Mr. Edwards in quite some time, I wasn't expecting him, that's all. (Does he look guilty of something?)
Quentin searches outside Angelique's room, then knocks at the door and enters. Dameon, standing there, turns to look at Quentin, who asks, what do you want here--why have you come back? Dameon doesn't respond; he slowly fades and disappears. Quentin finds blood in small puddles in front of the fireplace. Blood in this room, why? he wonders. . . first the piano playing here, then downstairs the picture in the drawer--blood there, too; then Dameon in the chair, and here again, blood--but why. . . dead, murdered, here?--is that what you're trying to tell me, Dameon? Quentin asks the air.
Trask, dusting the items on the mantle, asks Amy, is it true that Miss Alexis looks like her sister? I'd rather not talk about it now, she says, I'm starting to get scared all over again--so many things have been happening! What things? he asks. Quentin returns to the drawing room. Amy anxiously asks, did you see Mr. Edwards--did you ask him why he didn't talk to me? You didn't find him, did you? asks Trask. Quentin kneels and says, Amy, I've decided to let you stay at the Old House with Will and Carolyn. Why? asks Amy. Smiling, Quentin says, you told me you wanted to go away from Collinwood for a little while. But I wanted to stay with Chris, Amy says. I just talked to Chris, says Quentin--he will be out of town for a week. Something IS wrong, then says Amy with certainty. No, says Quentin, nothing is wrong. Are you sure? she asks. Positive, he says cheerily--now why don't you go upstairs and get packed?--Trask, help her. Amy leaves. Quentin stops Trask, and confesses, the truth is, twice tonight, I've seen Dameon, and both times he vanished--keep your eye on Amy--don't let her out of your sight. Trask nods, says yes sir, and follows Amy upstairs--but he's clearly perturbed.
Cottage - Bruno, for a change, plays Angelique's theme. Quentin barges in and says, if you'd stop playing, I'd give you some important information. Quentin examines the sheet music of "Ode to Angelique". When will you learn to knock before entering another man's house? demands Bruno. You'll have to forgive me, says Quentin, but the information I have is too important to stand on ceremony. I doubt I'm that interested, says Bruno. I have no doubt you'll be very interested, counters Quentin. Tell me and leave, orders Bruno. I saw an old friend of yours tonight, reports Quentin--"Dameon Edwards." Bruno immediately ceases playing and stares in disbelief at Quentin.
I hope you gave Dameon my regards, says Bruno casually, and resumes playing the piano. Not exactly, says Quentin. Maybe next time, suggests Bruno. If you like, says Quentin. Did Dameon say where he'd been for the last year? queries Bruno. Not in so many words, chuckles Quentin. Dameon never was a talker, remarks Bruno. Less so now than ever before, says Quentin, then leans in closer for the punchline: "He's dead. What I saw was a ghost." Well, well, well, says Bruno--imagine that--Quentin Collins seeing ghosts. He nervously pops a cigarette into his mouth--I guess old Hannah Stokes is beginning to get to you.
You knew he was dead, didn't you? asks Quentin. Bruno lights the cigarette and asks, how could I know that?--you're the one who claims to have seen his ghost. You knew all about his death, states Quentin. Of course not, says Bruno--all I know is that he stopped coming around here about a year ago. Are you sure that's all you know? asks Quentin. Of course, says Bruno, except now he's haunting the place. I have the distinct impression you aren't as calm as you're pretending to be, says Quentin. Well, says Bruno, you'll have to pardon me this once if I don't believe in ghosts. Dameon Edwards' spirit is trying to tell us something very important, insists Quentin--I don't know what it is, but I intend to try to find out. Bruno sucks his cigarette and says, you have my best wishes--now pardon me, I was entertaining someone very important, namely myself. Quentin laughs--play it cool, Bruno, if you want, but you will never be able to take away the look on your face the first time I mentioned Dameon Edwards--when I see him again, I may have something else important to report--so long! Bruno's mask slips off, leaving him very disturbed.
Trask brings down Amy's suitcase and sets it down in the foyer. Wait for me in the drawing room while I go back upstairs to get the car keys, instructs the butler. Where is Quentin? asks Amy--I want to see him before I leave. I'll look for him upstairs, promises Trask--wait for me in the drawing room and be a good girl. Amy sits in a chair, prim and sweet. She gets up, looks out the window, then closes it. She spots Dameon smiling at her--"So you didn't go after all--Quentin looked for you, but he couldn't find you--what did you want to talk to him about?--he's awfully worried now about a lot of things, but I'm sure he'll be happy to see you." He gestures for her to follow him. While she's spooked that he won't say anything, she follows him into the kitchen. Is this like one of the games you used to play with Daniel and me? she asks. He just gestures for her to follow--and she does. Quentin enters, picks up Amy's suitcase, and puts it down. He finds the drawing room deserted. Trask runs downstairs--I had to get the car keys, he explains--I can take Amy into town now, if you'd like. Where is she? asks Quentin. In the drawing room, says Trask. She's not there, says Quentin--you left her alone? Only to get the keys, sir, reports Trask. He runs in, looks at the empty drawing room and joins Quentin. Perhaps Amy went upstairs for something she forgot, suggests Trask. Check it out, orders Quentin, I'll search down here. He heads into the kitchen area.
Dameon leads Amy to a dark, cobweb covered, dank-looking basement room, filled with dusty furniture and other discarded items.
Trask comes down and reports to Quentin--Amy doesn't seem to be upstairs. I told you not to leave her alone! Quentin reminds him angrily. She must be here somewhere, says Trask, I'll go upstairs and search further. Quentin bites his lip, fearful.
Amy protests to the fading Dameon, I don't want to go any further. He continues beckoning to her. Please tell me where we're going, she begs, but he disappears.
She screams and covers her mouth with both hands.
NOTES: OK, we have a mysterious new ghost to add here--what is his connection to Angelique, Bruno, and Trask (and oh, how the mighty have fallen; this is our first modern day Trask and he's a butler)! Bruno and Trask both act guilty. Who is Dameon (besides the same guy who was created in 1897 from Tate's paintbrush)?
Gee, it's a great idea to send Amy to the Loomis' house, with Will interviewing a vampire every day. I guess she can take notes.
Amy annoys me in this storyline, I can't explain exactly why. She's just too whiny-voiced, I guess.
I miss Frid, Hall, etc.
995 - Quentin and Trask check out the drawing room window, looking for Amy. Do you think we should search the grounds? asks Trask. Did you check the attic? asks Quentin. Not yet, replies Trask, but why would she go up there? Stop asking questions and let's go look, says Quentin sternly. Do you really think that Dameon Edwards...begins Trask. WHAT DID I SAY ABOUT ASKING QUESTIONS? demands Quentin, incensed. Yes sir, says Trask, who spots the kitchen doorknob turning as they are about to go upstairs. Amy appears. Thank heaven! says Quentin, kneeling to hold her arms--where did you go? Amy looks at him blankly--I thought it was a game, she says--we used to play games, but before they never scared me. What scared you, Amy? asks Quentin. What happened? demands Trask. I was so afraid, says Amy. Quentin leads her into the drawing room, assuring her, you needn't be afraid. Did you see him? asks Trask anxiously. Back off, orders Quentin--obviously, the girl had a frightening experience, let her calm down. I saw Dameon Edwards again, says Amy.
Quentin leads her to a chair. He stood there in the door and he asked me to follow him, she says. He spoke to you? asks Trask. No, she says, he just made a motion with his hand--and so I followed him--and I know I wasn't supposed to and I'm sorry, I really am! That's all right, Quentin assures her. Anyway, she says, I followed him downstairs into the cellar and I wanted him to say something, but he wouldn't, so I kept following him--we went into this room, and he started walking toward the wall--and...he disappeared!--through the wall while I was watching, right through the wall! It's all right, Quentin assures her, it's all over. People can't go through walls, they really can't! cries Amy. You don't have to be afraid, says Quentin--I want you to take me to that room--if you're frightened, you don't have to, but I wish you would take me there. Amy closes her eyes miserably. Please, says Quentin. She agrees--but only if you want me to. He leads her toward the kitchen. Trask anxiously asks, do you want me to go along? That won't be necessary, says Quentin. Trask watches them disappear, then grabs his coat and leaves Collinwood.
Cellar room - This is the room, says Amy. Which wall did Dameon disappear into? Asks Quentin. When he starts heading for it, Amy begs, don't--something might happen to you! I'll be all right, he promises, I just want to look at it. Please be careful, pleads Amy. He feels the wall, knocking on it--it's solid enough, he says--are you sure he disappeared through this wall? Yes, and it was terrible! she moans. She hides her face and asks, can we go back upstairs? Quentin finds no breaks in the stone, no hollow walls. Let me go back upstairs, begs Amy. I just wanted to look, he says. What does this mean? she asks. Don't think about it, he says, let's go upstairs. How can he walk through a wall? she asks--what kind of man is he?--I hope I never see Dameon Edwards again! Quentin leads her upstairs.
Bruno's cottage - Quentin and Amy both saw him! an agitated Trask tells Bruno--if you're wise, you'll leave Collinsport, at least for a while.
This is what you came to tell me, to leave Collinwood? asks Bruno sourly. If the ghost of Dameon Edwards is wandering around Collinwood, you aren't safe. Why is that? asks Bruno. You know why as well as I do, Trask reminds him. Suppose YOU tell me, says Bruno. You could be in very grave danger, warns Trask. Only me? counters Bruno, isn't there someone else who could be in danger? I can't believe you aren't taking this very seriously, says Trask. How much Quentin paid you to get me out of here? queries Bruno. Is that what you think? asks Trask. Maybe it was even your idea, says Bruno--to fake some story about Dameon Edwards' ghost--was it, Trask? How could you think such a thing? demands Trask. Because there's nothing you wouldn't do to pick up an extra buck! accuses Bruno. I'm trying to help you, insists Trask, and if you're smart, you'll take my advice and clear out ASAP. Bruno chuckles--sorry, you're selling, but I'm not buying, and you can go tell your master, Quentin, exactly what. Bruno, there IS a ghost of Dameon Edwards! says Trask, scared. There is no ghost of Dameon Edwards, is that clear--no ghost! yells Bruno. The phone rings. Instead of answering, Bruno refreshes his drink and says whoever he is, I'm not interested. It might be something important, says Trask. Not interested, insists Bruno. Unable to stand it, Trask answers--it's him, Dameon, says Trask--he says it's only a matter of time!
Bruno darts forward and grabs the phone, but no one is there. He hangs up. It was Dameon Edwards, I swear it was! says Trask. It was NOT Dameon! blares Bruno, now stop it! It was, says Trask, I'd know his voice anywhere--HE SAYS IT'S ONLY A MATTER OF TIME, BRUNO, WHAT ARE WE GOING TO DO! cries Trask. Bruno drops his hands to Trask's shoulders and whirls him around--stop being hysterical, he says--we will go see Quentin and tell him to stop playing these tricks! You must believe me, it was Dameon! says Trask. Listen carefully, says Bruno, someone is trying to shake us up, to break us!--maybe Quentin, maybe someone else, but we won't get shook--we will stay calm and sensible! Trask nods. Now get out of here! demands Bruno, pushing him away, almost causing him to fall. Trask nods and says--when you find out I'm telling the truth, and I hope it's not too late--for both of us! He leaves. Bruno drains his drink. The phone rings. He answers. He hears Dameon's voice: "It's just a matter of time." Who is this? asks Bruno. You know, says the voice--it's just a matter of time. The caller hangs up.
Cyrus' lab - I hoped you would ask me to come, Cyrus, says Sabrina shyly. It will be so dull, darling! he says. How can you say that? she asks--you know how I feel about you. He holds a carrot. Yes, he says, it's just that it would be all business--I didn't tell you, Sabrina, because I knew you wouldn't like it--I'm going to see old colleagues and discuss my experiment, I'm going to go over data, you can understand that, can't you? I suppose so, she says. I'll only be gone a few days at the very most, he promises. I'll miss you, she says, her back to him. On the desk, she finds the IOU note from John Yaeger--who is that? she asks. Startled, he takes it from her and puts it in his pocket. IOU a hundred dollars? she asks--what does it mean? I lent this man a hundred dollars and he gave me an IOU. Who is he? she asks--I never heard you mention him. He's an old friend of mine, says Cyrus, the kind that only comes to you when you need money--you know the type. . .thank you, he says, I wouldn't want to forget Yaeger owes me money. She gazes at him sharply.
Cottage - Bruno's phone rings again. Not wanting to answer, he pulls out the plug on the phone. His piano begins to play by itself. He stares at it, horrified, mouth open, face shaking.
No! cries Bruno, I don't believe it, it can't be--stop--STOP!--go away, he tells the air, go away, demon, go back to your grave! I believe it now! Go back to where you came from, go back to your grave--GO AWAY! He slams the piano closed and turns.
Dameon Edwards is standing there, coming toward him. No, wails Bruno, and races from the cottage.
Cyrus walks downstairs to his lab, carrying a large bottle of red liquid and a small one of white powder. You should run along, Sabrina, Cyrus suggests, considering how late it is, I'll finish up. I don't mind, she assures him. You've put in more than enough work today, he says. I'm sure you have enough to do without cleaning up, she says. Cleaning up will help me relax, he says--really. Are you trying to get rid of me? she asks. Yes, he admits, because I think you've been working too hard and should go home--let me work alone tonight, please? Cyrus answers a knock at the door. When he opens it, Bruno almost flies in--I must speak to you, he says. He stops short when he sees Sabrina and mutters a hasty good evening--I must speak to Cyrus alone, insists Bruno. I suppose so, says the doctor--Sabrina was just about to leave--do you mind? I'll try my best no to, she quips. Cyrus helps her off with her lab coat and on with her coat, kisses her goodnight, and sees her out. After she's gone, Bruno begs Cyrus, let me stay here, please, I MUST have a place to stay, just for a little while. Cyrus is puzzled. Just trust me, begs Bruno--I can't explain, just let me stay; there's no place else for me to go! It's impossible, insists Cyrus. But there's no place I can go! whines Bruno--please, just for a little while--that room upstairs, the one you stay in when you're working late, I can stay there for just a little while, can't I? I can't let anyone stay here, says Cyrus, not even Sabrina, while I'm working on this experiment. I won't come downstairs, says Bruno, not near the lab, I'll stay upstairs--I'm desperate, you've got to help me--PLEASE, CYRUS, you're my last chance! He's grabbed onto Cyrus' lab coat in his extremity. Cyrus finally gives in under the onslaught of the relentless begging, but orders Bruno, don't come down into the lab under any circumstances. Bruno agrees--sure, anything you say. Cyrus escorts Bruno upstairs, again making him promise not to come down no matter what. We see them exiting within the framework of the two bottles of "experiment", then fade into the blood-red of the crimson one.
Cyrus returns to the lab alone and pours the red into the powder, which bubbles and foams. He takes it and brings it to his mouth--"To bring forward all that is good in man," he says to himself, "to rid me of the impediments of evil, to fulfill all that is best in my divided nature." He drinks the pink concoction and is immediately overcome with pain. He drops the glass and tumbles around the lab, losing his glasses, writhing. He sees things in shades of bizarre green, like a bad acid trip, and calls for help.
He twists on a leather bed, his face merging with the green colors, screaming with pain. Now his face turns into another entirely--beaked nose, dark hair, a mustache--exactly the description of the man who caused all the trouble in the Eagle!
NOTES: So now we know--Cyrus IS none other than Big Bad John--Yaeger, the guy the bartender said caused the fussin' and fightin' at the bar the other night. Nice nose! We were under the impression that Cyrus wasn't going to do this anymore, but I guess buying more of the compound was a giveaway. Will he remember what happens this time? Will Yaeger leave the money he promised to Cyrus?
Cyrus has a weird way of showing his love for Sabrina. He apparently doesn't trust her with his biggest, darkest secret--why? Perhaps because he knows she is wholly good and his alter ego nothing but bad--a character who has already harmed Sabrina?
It gave me joy to see Bruno running scared from Dameon's ghost, especially after he gave Trask such a hard time. What on earth did those two DO to Dameon, anyway? Sounds like they were in cahoots, doesn't it? Strange bedfellows. How ironic that a Trask ended up serving the Collins family, given the enmity between them in past centuries. Quentin treats him pretty shabbily, too, yelling at him so much.
Love, Robin
