1008 - Quentin is shocked to see Hoffman standing behind him after he'd just seen her exact double speaking to Elizabeth in the parallel time rift. It happened once before, explains Quentin, with Amy and Daniel, and again, just now. What happened? she asks. Look into Angelique's room, says Quentin, and tell me if you see what I just saw. Has something happened to Miss Alexis? asks Hoffman, immediately rushing into the room--which has transformed back into its normal state. Tell me what you see, he says. A room, she answers. Is it empty? he asks. Of course--Miss Alexis is downstairs, says Hoffman. That room, says Quentin, a moment ago, was empty of furniture--I saw you and Mrs Stoddard, both dressed differently, but definitely you. I called to you, but you couldn't hear me. Impossible, says Hoffman. Maybe, but it happened, says Quentin--look, you were discussing Barnabas. Screwing up her face in bewilderment, she says, I don't know any Barnabas. He's one of our ancestors, Quentin reminds her. Oh, the one Will Loomis wrote about, she recalls. No, says Quentin hesitantly, I think it's another Barnabas--at least I think so, the one living now, but he disappeared in this room--no, it wasn't in this room, but another room, behind the same door! He blathers, growing frustrated. Mr. Collins, says Hoffman placatingly. You said something about a curse on him, continues Quentin. Her forehead creases-- "Curse?" she asks. Yes, says Quentin, then gives up--what's the use?--it couldn't have happened, I couldn't have seen what I thought I saw--excuse me, I shouldn't have mentioned it at all, I'd better go, it's getting late. Concerned, she asks, can I do anything, get you anything? No, he says, nothing whatsoever. He leaves the perplexed Hoffman to close the doors of Angelique's room behind him.
Collinwood - Daniel and Angelique return from shell hunting. He's empties his haul onto the foyer table, thrilled he found something good--a giant starfish, plus other items--and I'm glad you suggested it, he tells his "aunt". Oh, I just wanted us to do something you used to do with your mother, she says. He takes out his beach finds one at a time, admiring what he calls the best conch shell he's seen in ages. She bets he can hear the whole ocean in that thing. Not the ocean, he says--it's probably silly, since I'm so grown up, but when I was little, my mother used to tell me that I would hear her whispering in the shells. Angelique smiles nostalgically. Not words, adds Daniel, just sounds, to let me know she was near, thinking of me, but that's when I was little. Listen again, she urges, don't be embarrassed, listen and see. He holds the huge shell up to his ear. Do you hear your mother's voice? She asks--that is her voice, isn't it, talking to him, telling him she's thinking of you, that she's very near...very....near? Quentin comes down, interrupting them, breaking the spell between mother and son. I need to talk to you, he tells "Alexis," in the drawing room. He notices that the portrait of Barnabas is now hanging on the wall in the same spot it does in RT--who hung it here? he demands. Trask did, answers Hoffman, I told him to--it was in your study and I had it hung here. WELL I WANT IT TAKEN DOWN IMMEDIATELY! yells Quentin. Hoffman agrees, acting like he's crazy--I'll go find Trask. Alexis, a moment, asks Quentin. She joins him in the drawing room after promising Daniel to come up and see his whole collection.
Drawing room - Quentin sips a drink and says, I'm sorry I sounded sharp, he says, but I haven't slept much. I'm sorry, she says. It really isn't that, admits Quentin--I'm not well, and I don't mean physically--there have been many strange, inexplicable things going on around here. You mean Dameon Edwards? she says. Party, admits Quentin, but there's something else--it will sound ridiculous, but I want to tell you I'm leaving Collinwood. Why? she asks, astounded. It's happened twice now, he begins. Please tell me what it is, she asks. Twice, he says, I've opened your door and both times...
Hoffman finds Daniel in Angelique's room, leaving shells for his Aunt Alexis. Angry at first, she softens when he tells her the reason. Have you seen Trask? she asks. No, he says. She notes that Daniel is leaving the shells just the way he used to leave them for HER (and looks up at the portrait). Aunt Alexis likes them just as much, says Daniel--you know, a couple of times on the beach today, she...forget it, everybody always gets angry at me when I say it. You thought she was...begins Hoffman. No, she's not my mother, says Daniel, upset, I've got to accept that--and I do, really, I do! He runs off. Alexis enters, calling to Daniel, then asks Hoffman, what was that all about? He's confused, explains Hoffman--it's not just the resemblance to Angelique, it's that he seems to care about you the way he cared about his mother. I doubt that, says Ang, however, I will admit, my feelings for Daniel--that's of no interest right now--Mr. Collins told me he's leaving Collinwood--he told me what he saw in the room, and says you know about it, too--he seems to be very disturbed by it. Maybe it would be a good idea if he got away for a while, suggests Hoffman. Away from those who love him? asks Angelique imperiously--well, I mean we do all care a great deal about him and want to help him, she amends--how can we help him if he's not here?--you do understand, don't you? Smiling, Hoffman says yes, I think I do.
Collinwood - Daniel comes downstairs and is about to exit the house when he hears a heartbeat emanating from Barnabas' portrait. He goes over to look at it and says, "Yes, I hear you
--I will follow, I will find. Follow...find."
Drawing room - You haven't even tried to understand, Hoffman tells Quentin. Perhaps I don't want to, he says. You saw this woman, Julia, talking about Barnabas Collins, she says, now Will Loomis is writing a new book about him--go talk to him--and the portrait has had some disturbing effects. You're right, says Quentin, I do know these things, it's just that I can't make sense of them--I have tried to contact Will, but he won't see or talk to anyone, and I can't physically force the man to see me. Why don't you go to the Loomis house and insist Will talk to you? asks Hoffman--tell him about the portrait, the room, the people in it. Quentin thinks it over--no, he says, I don't want to know anymore about it, I want to forget it all, that's final--I won't go to the Loomis house again. He storms away, leaving Hoffman shaking her head.
Daniel enters Loomis house, calling to Will and Carolyn. No response. Speaking to himself, he murmurs, nobody is here, why did I come? Spotting a bottle of booze and papers lying beside it, he begins to read: "For long enough, the world has lived in ignorance of this terrible truth." He realizes it's pages from Will's book. He sits down on a sofa and reads, "Perhaps, it was just as well--how many would have come in search of the locked door, not suspecting if it had opened to their touch, a fate awaited them so devastating that... He hears the heartbeat again. Now I remember, he says--"Follow..."
Angelique opens the doors to her room and finds it dark and empty, just as Quentin described. He didn't imagine it! she says. She sees Julia enter the room, calling to Barnabas, wandering around. Hoffman, can't you hear me? demands Angelique, but the lonely occupant of the room ignores her.
He isn't losing his mind, realizes Angelique, it's true, he really saw it! Quentin! she screams, racing away.
I'm trying to follow, says Daniel, listening to the heartbeat, I'm trying to find. Locked door? Beyond locked door? In his mind, he sees the chained coffin. Follow, find, locked door, he tells himself, over and over.
Daniel tries to open the basement door, but finds it locked. Break the lock, he tells himself, find, break! He takes one of the fireplace andirons and is about to do just that when he hears Quentin behind him, shouting his name. The child passes out. Quentin kneels to help him.
Collinwood - Angelique asks Hoffman, have you seen Quentin? No, answers the housekeeper, not since he left the room. I must find him, says Ang, I saw it myself--the room, with Hoffman in it!--I opened the doors to my very own room (!) and it was completely changed--empty, the same room--oh, I wish I knew where Quentin was--he didn't imagine it, I saw it myself! Hoffman, disbelieving, asks, I was there? Yes, says Ang, and said one word--Barnabas. Barnabas, repeats Hoffman--the same thing that Mr. Collins heard me say. They hear a door slam and think it might be Quentin; Angelique rushes to the foyer. Daniel is with Quentin, telling him, the last thing I remember was looking at the portrait of Barnabas. Angelique, behaving far too motherly to be Daniel's aunt, asks him twice, shrilly, are you all right?--tell me what happened, she demands of Quentin. "I found him at the Loomis house," says Quentin. Hoffman watches closely as Angelique grabs Daniel into her arms and asks, "Darling, are you all right? What happened to you?" Hoffman gets a strange look on her face, as if to say, Eureka! Daniel is all right, Quentin assures Angelique, he's not hurt.
Angelique, realizing she might have overreacted, says, I just wondered what happened to him, that's all. I don't know, says Daniel--the last thing I remember, I was looking at Barnabas' portrait. He gazes at the now-empty wall--where is it? he asks. I had Trask take it down, reveals Hoffman. I can't remember anything else, says Daniel--why, what does it mean? I expect to find out very shortly, Quentin assures him--Daniel, go upstairs; I'll be up later. Daniel starts to protest, but Quentin says, warningly, "Daniel..." The boy says, I figure I should think about all this for a while. No, says Quentin, hands on his son's shoulders, I want you to forget about it--we'll talk later. I want a few words with your father, says Angelique--I'll come right up. Sure, says Daniel, and goes upstairs, Hoffman following. Quentin, what could Daniel possibly have been doing there? asks Angelique--doesn't he remember anything? I don't know, says Quentin--it has something to do with Barnabas--but what? Could it be the Barnabas Hoffman was talking about in that room? she asks--that strange, empty room? He looks at her. Yes, she says, I saw it, too, and Hoffman said one word--Barnabas--it wasn't just your imagination. No it wasn't, says Quentin, smiling, happy and relieved--but that still doesn't explain everything. Did you go talk to Will? she asks. I didn't see him, admits Quentin, but I have a feeling he doesn't know anything--there's only one person who knows all about it, one obvious person--Barnabas Collins. But isn't he... she starts to ask. Dead? asks Quentin--yes, for over a century, but I intend on talking to him tonight--a seance in the drawing room. Are you sure you want to do that? she asks. It's the only thing I can do, says Quentin--if I want to go on living here at Collinwood, I have to understand what's going on--you, Hoffman and myself are the only ones who know about your room; I'll see to it that Roger, Liz and Trask are out of the house, and once Daniel and Amy are asleep. A seance, she repeats, "You, Hoffman and I." And we shall finally meet up with Barnabas Collins--tonight, says Quentin exultantly.
11:30 - The threesome sit at a table in the drawing room, candle in the middle, hands touching. I call upon my ancestor, Barnabas Collins, says Quentin--if your spirit can hear me, please answer!--come to us, Barnabas Collins! Speak to us, Barnabas Collins! There's the sound of outer space noises. Hoffman, afraid, breaks the circle--"I can't!" she cries. Don't break the circle, warns Quentin, but she runs off, leaving only Quentin and Angelique at the table. Come to us, Barnabas, Quentin calls. Something was here, but it's gone, says Ang, the circle's broken! No, don't go, whoever you are, begs Quentin, don't leave us!
A figure appears in the room, its silhouette looks like an Inverness coat with a collar turned up high. Quentin, look, says Angelique--there! He turns to gaze at the caped figure--is it Barnabas?
NOTES: I remember wondering if that caped figure was finally Jonathan Frid returned from making the movie, but it didn't look anything like him, or anyone else I was familiar with from the cast. Still I hoped!
Barnabas is trying so hard to escape, and he keeps sending psychic messages to anyone he thinks might be able to help him--to no avail.
Didn't it look like Hoffman realized that the woman in the foyer going nuts over Daniel was Angelique, not Alexis? She certainly looked like something struck her.
Poor Quentin thinks he's seeing things, but at least his visions have been corroborated by Angelique. Good stuff. We're looking at life from both sides now, and Julia from RT calls to Barnabas much like the little boy called to Shane in the famous movie. It's sad.
1009 - The spirit who appears at Angelique and Quentin's seance is none other than Joshua Collins, who identifies himself as the master of Collinwood, father of Barnabas (from PT or RT?)--you know all there is to know about Barnabas, says the apparition in a very creepy voice. Then why did you appear? asks Quentin. You must be warned, intones Joshua. Of what? asks Quentin. An evil has come into this house, reveals Joshua, and it has disturbed the graves of all those who once lived here. I don't understand, says Quentin--what evil? You have not seen it yet, says Joshua, for it has not yet appeared, but it exists, and it WILL appear! How? asks Quentin, you must tell us. I cannot tell you, says Joshua, I do not know what form it will take. You've got to tell us more, insists Quentin. You are of the living, says Joshua, I am of the dead--but this evil of which I speak is both! This puzzles Quentin. Living and dead? asks Angelique--how can that be possible? (Look in a mirror, honey.)
Tell us more, begs Quentin. I can tell you no more, insists Joshua, I can only warn you--you are the master of Collinwood now, I implore you to remember the dead--allow them to rest in peace--find this evil and destroy it, restore pride and honor to this house before it is too late! Quentin rises as the spirit begins to fade, calling, "No, wait!" Joshua's parting words are, "I have warned you--now heed that warning!" The ghost is gone. There's got to be a connection between this ghost and what we have witnessed in your room, insists Quentin. The original Barnabas has been dead nearly 200 years, says Angelique. I don't know why, says Quentin, but I have a feeling that Will knows something, may even hold the key to all of this. Why, because of that book he wrote? she asks. Will wrote one book on Barnabas, Quentin reminds her--what reason to write another? I don't know, she admits, but I find it strange that the name of Barnabas keeps reappearing. That portrait, says Qquentin--the effect it had on the kids... They agree they should keep the children away from Loomis house. Quentin wonders about what the spirit said--an evil in this house has disturbed all the graves of those who live in this house--I wish I knew what it meant. Talk to Will right away, advises Angelique. The problem is finding him, says Quentin. Roger enters the room and sarcastically wonders--if one dares ask--why all the lights are out? We've been holding a seance, says Quentin, moving to turn on the light. Just the two of you? asks Roger. Hoffman was here, says Quentin (the light goes on before he has a chance to hit the switch). Angelique blows out the candle. Hoffman got scared and left, says Quentin. We contacted someone from beyond the grave, says Ang. The spirit of Joshua Collins, adds Quentin, once the master of this place. Yes, I know, says Roger sourly, Will wrote endlessly about him in his book. You've spoken to Will? asks Quentin. I haven't even seen him, says Roger, I understand he's attempting to write another book--I'll believe it when I see it. I'm very interested in that book, says Quentin--it's about Barnabas. Good Lord, says Roger, is he going to make a career out of that man's life?--I can't imagine why you're interested in Barnabas Collins; according to Will's first book, his life was singularly dull, in fact, I find the book an improvement over sleeping pills. (LOL, nice diss, Rog!) I think there's more to Barnabas Collins than any of us have ever known, opines Quentin, and I'll find out all I can about that man.
Cyrus' lab - He gazes at himself in the mirror. There's a knock at the cellar door--Gladstone with more of the compound. I thought I told you to use the front door, says Cyrus, annoyed. I don't know why, says Gladstone, this one is much more accessible to your lab. What's going on? asks Gladstone, usually when I arrive, everything is all cluttered. I haven't been doing as much work lately, says Cyrus. Oh, you ran out of the compound, didn't you? asks Gladstone, eyes gleaming greedily--well, I brought you a fresh supply, just as you asked--you'll be able to get back to work soon.--I trust you have the payment ready, ten thousand dollars, in cash! No, I don't, says Cyrus, I don't want your compound and won't let you blackmail me--get out of my lab, and don't come back!
I hope this isn't your idea of a joke, Gladstone tells Cyrus. No, it isn't, says the doctor, I've been thinking it over very carefully, and I'm not going to give you a penny! Come to your senses, before it's too late, urges Gladstone--before certain people find out who John Yaeger really is! Cyrus smiles, then says, you don't really have as strong a case as you think--in the first place, Yaeger's gone away for a while and isn't planning to come back, and there's no possible way you can prove that I am Yaeger, or Yaeger is me. Gladstone says ah, but I can, doctor--John Yaeger has not completely gone away--a very small but important part remains--with me! I don't know what you're talking about, says Cyrus. I'm talking about the signatures, says Gladstone gleefully, I told you that I compared the handwriting--he shows him two booklets that apparently contain signatures from both Yaeger and Cyrus--go on, take a look at them, he encourages. Cyrus takes both into his hand and looks. Any competent handwriting expert will be able to tell they were written by the same man! gloats Gladstone. Cyrus disagrees. "Don't be a fool!" cries Gladstone--"your career is at stake!" Cyrus turns on him--I won't let you blackmail me! he says, furious.
Why do you insist on calling it blackmail? demands Gladstone--I provide an invaluable service for you, you enjoy being Yaeger, he's everything that you could never be--you can't live without him. I can--and I will! says Cyrus. Very well, doctor, says Gladstone, I think I'll extend my patience another 24 hours, give you a chance to reconsider--if I don't hear from you by nine tomorrow evening, your secret will no longer be a secret, and your career will be over! He takes the compound, and with a smile, bids Cyrus good night.
Collinwood - Quentin signs a legal document and hands it to Larry Chase. How many more? he asks the lawyer. One more, says Chase--the agreement with Barnes construction. What about the Conway contract? asks Quentin--hasn't Chris sent it back? He did, says Chase, but I forgot about it, it's somewhere in my briefcase--he begins to look, explaining, Chris threw everything at me when he left town so quickly, I just misplaced it somewhere. A paper falls from Chase's briefcase while Quentin waits; he glances at it, then asks Larry, what that all about? Oh, that's Cyrus' new will, says Chase, folding it back up--he asked me to draw it up for him. It's very odd, says Quentin, Cyrus is a very methodical man, his life very fixed, I find it strange that he'd go about changing his will. I can't answer that, says Larry. I know, says Quentin, it's just that Cyrus' behavior seems very strange, ever since he hired John Yaeger to help him with his experiments. Yes, I know, says Larry, I tried to persuade Cyrus to have nothing more to do with him, but he just won't listen to me. Quentin hands back one of the documents and says, you and I agree on our opinion of Yaeger. He's the lowest possible form of humanity, says Larry, I tried to convince Cyrus to get rid of him, but he's apparently of some use to him, I don't know why. One more thing, says Quentin, do you think Cyrus' changing his will has anything to do with John Yaeger? Larry looks up from his briefcase. The phone rings. Quentin knocks papers off the desk as he goes to answer it. The caller asks for Larry, who takes the phone. Gladstone, calling from a phone booth, introduces himself to Larry, explaining, I have a document that I'm sure you will be very interested in reading. I'm conducting business right now, says Larry--why don't you call me when I get back to my office? Can you meet me in Collinsport? asks Gladstone. I don't even know who you are, Larry reminds him. The matter I wish to bring to your attention concerns a man you know as John Yaeger, says Gladstone. Yes, says Larry, now very interested, what time? Ten PM, says Gladstone, in front of the Eagle--can I expect you? Yes, promises Larry, I'll be there. Thank you, says Gladstone, grinning in close-up, I'll be looking forward to it.
Angelique sits before the fire on the drawing room. Roger enters. How long have you been standing and staring at me? she asks--I could actually feel you staring, do you believe that? Then you must have the same sixth sense Angelique had, he says, it was uncanny. She smiles-- why were you looking at me? she asks. That's the cross you must bear for looking so much like her, says Roger, smiling gently. At least people no longer think I AM Angelique, she says, I found that terribly disturbing. I never doubted you for a moment, he says. Oh? She asks. I don't mean any offense, he assures her, but Angelique was one of a kind. I take it you were quite fond of her, says Ang, sitting on the sofa. That's an understatement, he says--I worshipped her; I remember the day she crossed that threshold for the first time, as Quentin's bride--I was standing here by the fireplace and I turned and looked into those exquisite eyes and my heart stopped--here, I thought, was an irreplaceable woman--oh, yes, she belonged to Quentin, but I knew and she knew that no other man would understand or appreciate her as I did from that moment on.
Angelique listens raptly, grinning at him. I sometimes think I loved her more than it was possible to love, he says--well, I seem to be rambling on quite a bit, don't I? I'm sorry. Actually, she says, I'm relieved to know how you felt about Angelique. Relieved? he asks. Yes, she says, one of the reasons I've stayed here is Angelique--I'm determined to find out who her murderer was. Do you really think she was murdered? questions Roger. Why--don't you? she asks. Well, I was in the seance with her, says Roger--I believe she had a stroke. I am convinced she was murdered, says Angelique sternly, and I desperately need someone to help me find that murderer--someone who loved and understood her--and I believe that someone is you! Roger looks pleased.
Larry reluctantly hands over Cyrus' last will and testament to him--drawn up just as you asked--in the event of his death or disappearance, everything will go to John Yaeger, although I don't know why. Cyrus examines the document, pleased--thank you very much, he says. For your own sake, won't you reconsider what you're doing? asks Larry. I may not have any choice, says Cyrus, half to himself. What did you say? Larry asks. I'll think about that, agrees Cyrus. Fine, says Larry, smiling, thank God you're talking sense again, thank heavens--have you and Yaeger parted company--I hope? No, says Cyrus, not exactly--he's gone away for a while. He invites Larry for dinner--I wish to discuss something. His lawyer declines--I'm meeting someone at 10 tonight in front of the Eagle, says Larry. You're meeting a client in front of the Eagle? asks Cyrus. Yes, says Larry, although I don't know exactly what he looks like--said his name was Gladstone and he had something urgent to discuss with me, so... Cyrus' face darkens at this name; he says it softly. I'll call you tomorrow, promises Larry--perhaps we can have lunch. Yes, agrees Cyrus, that's just fine, goodnight. Larry returns the good night and leaves. Cyrus, thinking hard, lifts a large beaker of his potion and a glass.
Outside the Eagle, Gladstone waits. John Yaeger approaches him--you were right, he says, "I do like being John Yaeger." I thought you ran out of the compound! cries Gladstone, nervous. I had just enough, says Yaeger, "And I've got your payment for you, Mr. Gladstone." No, protests Gladstone, we'll settle that another time--I'm on my way to meet someone. He starts to go, but Yaeger stops him--I know all about that, he says, advancing on Gladstone. "You ran out of patience, didn't you?" asks Yaeger, furious--"well I've run out of patience, too!" He backs Gladstone against a wall. "What are you going to do?" asks Horace, trapped and terrified.
Larry Chase, waiting in front of the Eagle, hears a man frantically yelling, "No, don't come near me! Stay away from me!" He rushes to the man's assistance.
"Maybe Cyrus Longworth can tolerate the likes of you, Gladstone, says Yaeger, but not John Yaeger,." He raises his cane over Gladstone's head. "Help, help!" shouts the chemist, but he is quickly silenced as Yaeger brings the cane down on his vulnerable skull. Once Gladstone is down, Yaeger sends the blade catapulting from the tip of his cane. Keep away from me! orders Gladstone--what do you want? "How about peace of mind?" asks Yaeger--"Bye, Gladstone--good riddance!" He stabs him viciously. Gladstone gurgles a few moments, then falls silent. Larry Chase comes on the scene--what's happening? he calls. Although Yaeger is hiding, Larry spots his shadow--come out so I can see your face! Demands Chase.
NOTES: Now Yaeger has committed murder to protect himself--how will Cyrus feel about this development? This surely isn't the "good in man" he hoped to unleash! Yaeger apparently has no scruples whatsoever.
Interesting that Joshua showed up--and not Joshua from parallel time, but regular time, because he knows about HIS son, Barnabas, the man who never went to England, married Josette, had a family, but who ended up in a coffin. How did Joshua get to PT, anyway--or can ghosts move about at will between parallel time bands? Quentin has vowed to learn more about Barnabas, but he has no idea this Barnabas is an intruder from another time band and doesn't even belong there at all. I always felt sorry for Joshua, having to imprison his only son in a coffin that way, losing his wife and little girl, but even in death, the old guy is still concerned about the family's good--living and dead!
Did Angelique ever have an affair with Roger? His adoration for her seems so good, it almost has to be pristine, don't you think? I can't imagine them ever making love, but his feelings for her are clearly very potent.
I'll miss Gladstone, the oily, creepy, disgusting little mole who supplies Cyrus with his drugs. He's one of the best-drawn secondary characters in DS history, and the fact that I can't stand the little SOB speaks volumes for the acting ability of John Harkins.
Good episode, I enjoyed it.
Love, Robin
