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Messages - ROBINV

136
Calendar Events / Announcements '03 II / Re:HAPPY BIRTHDAY TO YOU...
« on: July 29, 2003, 09:02:43 PM »
I realize I'm a few days late on my greeting, Steve, but you know my belief that DS fans deserve week-long birthdays, so I'm still OK.

I hope your natal day was filled with all the love you so richly deserve!

And here's some more from me--

Love, Robin

137
Have a fantastic birthday!  May it be everything you wished for, healthwise, gift-wise, cake-wise and love-wise!

Love, Robin

138
1042 - Angelique returns to Collinwood to find Maggie in her coat, about to leave. Alexis, I'm going to the jail to talk to my husband about everything, says Maggie. I'm sorry to have to tell you this, says Angelique, mock-sorry, but you can't do that.  I went to see him myself, hoping to help he was like a madman, he forced me call Hamilton into the room where we were, and when the Inspector got there, Quentin hit him on the head from behind.
No! protests Maggie. The Inspector was unconscious for a few moments, says Ang, and I tried to stop Quentin, but couldn't Maggie, he's escaped! Maggie's face crinkles in dismayed disbelief.

Maggie, overcome, says I don't know what to do, say or think, or anything. I know, agrees, Ang, I don't either, after all, he is innocent. Innocent? repeats Maggie. Ang asks, "You don't really believe Quentin murdered Bruno, do you?  Quentin hated Bruno so much, says Maggie if only he hadn't threatened to kill Bruno before going to the cottage" she whirls around and cries, "He was standing over the body when Inspector Hamilton walked in!"  Don't you think it possible that Bruno was already dead when Hamilton got there? asks Angelique.  I don't know, confesses Maggie, I'm so confused, did you learn how Bruno died?  Let's discuss it in the morning, suggests Ang, you're very tired. HOW DID HE DIE? demands Maggie. He was strangled, admits Angelique. I see, says Maggie quietly. But we mustn't believe Quentin did it, insists Angelique, we mustn't.  We aren't fools, says Maggie quietly, we have to accept facts.  If Quentin were able to murder Bruno, says Ang, then it's possible he might also murder? Angelique, finishes Maggie. No! cries the blonde. I've tried so hard not to believe that, says Maggie, covering her mouth in misery why would he escape if he weren't guilty?--I think the time has come when we just have to accept what we've known for a long time...Quentin killed Bruno and as much as he loved her, Angelique, too.  I hope with all my heart what you say isn't true, says Ang. So do I, says Maggie, who starts to head upstairs, explaining, I just want to be alone for a while. You will be careful, won't you? asks Angelique. What do you mean? asks Maggie. Nobody knows where Quentin is, says Ang it's possible he's here at Collinwood. Quentin wouldn't hurt me, insists Maggie, he wouldn't hurt me, no matter what. I did see the Quentin I witnessed at the jail--he wasn't the Quentin we know, he was like someone we've never known before, says Ang, someone capable of killing. If he is here, says Maggie determinedly, I want to see and talk to him. She keeps muttering this as she goes upstairs, adding, I want to see and talk to him, and ask him again and again, WHY, Quentin, she was your wife, you loved her, she loved you, why, Quentin, why? Ang smiles, pleased.

Loomis House - Julia anxiously greets Carolyn, asking, where have you been? Out walking on the cliffs, she says, hanging up her coat--trying to forget all the terrible things that have happened. The police have just left here, says Julia--they were searching for Quentin, and almost found the secret room.
Searching for Quentin? asks Carolyn. He escaped from prison, explains Julia, they thought he might be somewhere on the grounds. Carolyn, surprised, asks how did he escape? A very curious coincidence, says Julia, he and Angelique were alone in the prison office; Angelique says Quentin forced her to send for Hamilton--when he came into the room, Quentin hit the Inspector from behind and escaped. Perturbed, Carolyn says, he should never have done that, it only makes him look that much more guilty. That isn't the only thing we have to worry about, says Julia, if Angelique helped him escape, it means it's part of her plan, and he's in greater danger from Angelique than he would be in prison. Does anyone have any idea where he is? asks Carolyn. No, says Julia, weve got to find him and persuade him to give himself up. But if he did kill Bruno...begins Carolyn. He did NOT, says Julia. How can we be so sure? asks Carolyn. If Angelique is involved, says Julia, we can be sure she's the one who caused all the trouble. Aren't you forgetting one thing? asks Carolyn, Angelique was murdered, too, we can hardly blame her for that murder, who do we blame?--even if Angelique murdered Bruno, there's still another murderer? Who is it? Yes, who? asks Julia.

1:40 - Collinwood - Maggie, looking totally bummed out, sits in a chair, takes off her earrings. She opens her dresser drawer and finds the ascot-choked statue. Hearing a knock at her door, she hastily put it back.  Carolyn comes in. I heard about Quentin, she says--is there anything I can do?  Maggie puts her earrings back on and replies, no, everything is fine, really. It's all so terrible, says Carolyn. Maggie agrees and shows Carolyn what she found in the drawer. The blonde remarks, it looks like it could have been used as a voodoo doll, to cast spells. She checks the monogram--it's Bruno's ascot--a doll like this could be used to kill someone, says Carolyn. where did you get it? I just found it in the drawer, says Maggie, ascot around its neck. Do you think Bruno could have died this way?  I don't know, says Carolyn, sounding unsure. How did it get here, who put it here? asks Maggie. You don?t think I could have it seems I've done things like this before? You didn't do it, Carolyn assures her. Quentin is convinced I do things like this, says Maggie. You did NOT kill Bruno, says Carolyn. You had nothing to do with this doll. How did it get here? asks Maggie. Someone planted it there, deliberately, insists Carolyn.  Quentin? asks Maggie. No, says Carolyn, not Quentin. Then who? asks Maggie. What about Alexis? suggests Carolyn. That's ridiculous, says Maggie. Is it? asks Carolyn. It took me a long time to get over my fears of Alexis, says Maggie. Don't start them up again!
Maggie, someone is doing these things! bursts out Carolyn, who else could it be? It could be anyone, that's what's so terrifying, says Maggie. Nevertheless, I'd advise you to treat Alexis with caution, says Carolyn. Maggie stares at her and asks, do you know something about her you haven't told me? No, I don't, says Carolyn reluctantly. For a moment there, says Maggie, you looked as if you were about to say something else. What was it? Nothing, replies Carolyn, just let me repeat...be especially cautious with Alexis. Maggie, looking as if it's the first time she's heard this, stares at Carolyn, nonplused.

Loomis House - Carolyn asks Julia, did Angelique give you any idea where Quentin might be?  No, says Julia, not a word, she's enjoying one of her more coy moods. Julia, says Carolyn, I know how Angelique murdered Bruno...with a voodoo doll and an ascot that belonged to Bruno. How do you know? Julia asks. Carolyn explains what Maggie found in her dresser, planted there by Angelique to confuse her, or make her think Quentin murdered Bruno by black magic...I very nearly came right out and told Maggie the truth about Angelique there and then. You must not, warns Julia...if Angelique has any suspicion that Maggie or anyone else suspects her secret, she will destroy them. Maggie's better off being completely ignorant. Shrilly, Carolyn asks, isn't Angelique destroying Maggie as it is?  Maggie is safer in not knowing the truth, insists Julia...for now, anyway. I don't think we can afford to wait much longer, cautions Carolyn. I know, says Julia...I've been thinking about what you were saying before...that there was another murderer who killed Angelique...we must find out who that is so we can clear Quentin, and it will be easier to persuade him to turn himself in...when we find him. We have no idea who killed Angelique, says Carolyn. At the seance, questions Julia, who went to Angelique in the confusion...after Quentin? Carolyn thinks...Bruno, Roger, Cyrus, Liz, Buffie Harrington, who was working for us at that time, and Trask. Who was the first to go to her after she fell? Julia asks, Quentin? No, says Carolyn, it was my mother, and then Quentin, if I remember correctly. Any one of them could have done it, says Julia. Yes, agrees Carolyn, and I'm convinced we'll never know which one. She goes upstairs.

Collinwood - We focus on yellow roses. Maggie finds her door open, but is sure she closed it. She finds the dresser drawer open, the doll gone.  Angelique enters...I'm going for a walk, she says, just to get out for a while...will you be all right? Were you in this room just now? asks Maggie.   I beg your pardon? asks Ang. I mean, says Maggie hesitantly, clinging to the bedpost, did you happen to come in here sometime this evening?  Why on earth would I come in here? asks Ang. It's just that something's missing, says Maggie, I was just wondering if you happened to come in here and saw something unusual or...Icily, acting hurt Angelique says no, I didn't. I hope you don't mind my asking, says Maggie diffidently. She stops, steps forward and realizes some of Quentin's things are missing, too. Quentin Is in the house! says Ang. He is, agrees Maggie, and I must see and talk to him. Are you sure that's wise? asks Ang. I'm not going to be afraid, insists Maggie. It isn't a matter of fear, but of safety, says Ang. You're not deliberately doing this to frighten me, are you? asks Maggie.  Frighten you, repeats Ang incredulously--how can you say that, I'm trying to help you!--has somebody said something to you, about me? No, says Maggie.  Where did you ever get that idea? Ang asks. I'm sorry, says Maggie, I seem to be confused about a lot of things--sorry...please forgive me. It's all right, Angelique assures her, I know how upset you are...if you do think you'll be all right, I'd like to take that walk, get a little fresh air. Of course, please, says Maggie. All right, says Ang, and leaves. Maggie, nervous, reminds herself, I ran from this house before and swore I would never do it again...if Quentin is in this house, I've got to see him, I do, I really do! She leaves her bedroom. We pan to Quentin?s photo on the night table.

2 o'clock - A storm rages. Maggie leaves her room and walks downstairs. She hears a banging sound coming from the drawing room and finds all three windows blowing in the wind. She closes them, unnerved, and, clutching herself, backs into the foyer, where the front doors blow open, too, scaring her. She closes them and walks the foyer, looking around nervously. Quentin? she asks. She hears Angelique's theme playing and realizes it's coming from Angelique's room. She slowly walks upstairs, calling to Quentin, but gets no response.

Maggie finds the door to Angelique's room locked and rattles the knobs.  Quentin is that you? she asks, please! The music stops. Julia comes to her--what's wrong? she asks. There was music was playing in that room, says Maggie, and the doors were locked!  She's verging on hysteria when she sees the doors are opening now. What music? Julia asks. The music Bruno used to play for Angelique, says Maggie...you must have heard it, someone was playing the music--the doors were locked, and they wouldn't let me in. She turns and sees the doors ARE open. They were locked! She screams, they were! They find no one at the piano. It can't be! wails Maggie, there was somebody sitting there playing the piano and those doors were locked, I'm not going mad, I'm not!  Julia reaches out to touch her...you've been going through a great deal this evening, sympathizes Julia. Don't touch me! cries Maggie, pulling away--there was somebody sitting at the piano, playing! You shouldn't be in this house all by yourself, says Julia...why not go see Carolyn and Will, just for the night. And leave here? asks Maggie. Yes, and you can rest over there, says Julia, Carolyn will take care of you. Maybe I should, agrees Maggie, maybe I shouldn't be here alone. I agree, says Angelique, entering wearing a scarf ascot around her head--that's why I came back from my walk...Mrs. Collins will be here with me...thank you, Hoffman! She is gazing at Julia with gritted teeth, assuring, Maggie won't be alone, at all. Julia, looking like she realizes she slipped up, leaves the room. Angelique watches her go, a wary expression on her face.

Drawing room at Loomis House - Carolyn sits in a chair, staring at the fireplace flames. She looks at the clock, then goes over to the window, thinking deeply, wondering who killed Angelique?...they'll get Quentin for Bruno's murder, anyway...why can't we all forget about that dreadful seance, put it out of our minds completely? She paces, upset, then sits on the sofa, and says no, Quentin must be cleared of both murders, cleared completely, Julia is right...we must find out who killed Angelique. She begins to have a vision, a memory, of Angelique lying on the floor, wearing her fancy blue dress and jewelry.
She sees a brooch with a blue stone lying on the floor beside the body and begins to scream. When Julia enters, Carolyn says, I remember...I know who murdered Angelique! Julia gazes at her, astounded.

NOTES: Does Angelique suspect something is weird about Julia? That would be bad.

Maggie has faith her husband wouldn't hurt her, and while he has been verbally abusive, we never have seen him hit Maggie or otherwise physically hurt her. The question is, Angelique has presented a new, even more violent Quentin here, one who had the nerve to attack an Inspector and stage a daring escape. Maggie at least asked Angelique if she was responsible for taking something from her room, but Ang bristled so much, indignant, that Maggie was forced to back down. Too bad she won't believe what others are telling her about Alexis.

Who does Carolyn think murdered Angelique? Presumably whoever owned that brooch or pin or whatever she saw lying next to the body. Who could it have been?

It's apparent that Angelique was trying to scare the crap out of Maggie, or perhaps drive her to suicide, and began making spooky things happen just after she left on her walk.? Of course, Julia showing up and advising Maggie to go to Loomis house messed things up, which is why she?s probably suspicious of her faithful servant now. Watch out, Julia!

Where is Quentin? Is he hiding at Collinwood somewhere?

Maggie was Miss Namby-Pamby in this ep again, even though she's determined to talk to Quentin no matter what. Once again, I was wishing she'd get some backbone. She's just the frightened ingenue, isn't she, another Vicki clone?


1043  Carolyn, who killed Angelique?...you must tell me insists Julia!--it wasn't Quentin, was it?--why won't you say? Carolyn, hand on her heart, shakes her head and, voice shaking, says don't ask me. We must find out who murdered Angelique, asserts Julia. Quentin will be caught and hanged unless we do something. Carolyn tries to leave, but Julia grabs her arm and declares, I won't let you. Let go of me! cries Carolyn.  Please? begs Julia. I was wrong, says Carolyn, I don't know why I said it, it was just a dream. Tell it to me, urges Julia. Dreams don't mean anything, says Carolyn, clinging to the banister. They often do, says Julia the shrink. Carolyn turns to face her and smiles--I don't remember it now, she says--it was a nightmare, I was thinking about all the questions you had asked about the seance...that's what caused it...I don't want to discuss it anymore. Carolyn runs upstairs, in tears. Julia looks helplessly after her. Barnabas returns. Is Carolyn very much in love with her husband? asks Julia. I presume so, responds Barnabas, hanging up his cape...she wouldn't want anything to happen to him, that I know. Is it possible that Will murdered Angelique? She asks. Julia! says Barnabas reproachfully. Carolyn is protecting someone, says Julia, it must be her husband...she told me she had a dream and knew the name of the murderer, and then she stopped talking, got afraid, ran upstairs without telling me. Barnabas' forehead creases as he considers it all; he doesn't speak for a few moments. He calls down to the basement, "Will!" You aren't simply going to ask him, are you? Julia queries. You forget, says Barn, that I have certain powers over Will...he will tell me the truth, he has to...now leave us alone. Barnabas, protests Julia. He insists, we must find the murderer ASAP, clear Quentin. Will comes up from the basement. Julia, let Carolyn know I want to see her, too, instructs Barn. Julia nods, looks at Will, and heads upstairs. Will asks Barnabas, has something else happened? I thought when I came to this house I would have a little peace of mind. A writer does need peace, agrees Barnabas---tell me, Will, have you ever thought of writing a murder mystery? (Subtle as a brick, Barn!) Me, no, says Will. Why not? asks Barn. I don't know, answers Will...I don't have that kind of mind. Don't you? asks Barn--I would have thought you had...you're the sort of man who seems to have violence and a great deal of passion in you. You have something on your mind, Barnabas, says Will solemnly, what is it? Did you hate Angelique? Asks Barnabas. Will grins--hated her?...you've been talking to the wrong people. Will laughs. She flirted with you, then ran back to Quentin, states Barn. Will turns and testily says, you want to know if I killed her, well, sorry, you'll have to find someone else. I liked looking at her too much to end her life...what would even make you think that?  Are you sure you're telling me the truth? asks Barn. How could I lie to you? asks Will evenly, an angry expression on his face. Carolyn appears on the stairs.  Barnabas dismisses Will. Looking from the vampire to his wife, Will asks, You don't think???  But Barnabas just says, 'Will',  in a commanding voice and Will, after one last glance at his wife, reluctantly turns and leaves the house. You treat him so badly, accuses Carolyn. Barnabas comes closer--I want to talk to you alone, he insists. It will do you no good, says Carolyn. Aren't you going to tell me about your dream? he asks, sounding just like a shrink. None of your business, she insists. I think it is, he says. You're wrong, she says. No, YOU'RE wrong, says Barn, to protect a murderer--Carolyn, who do you think murdered Angelique. I don't know, she responds. Look at me, he demands. She refuses. You will, he assures her. She turns and looks at him. You forget I have certain powers, he reminds her.I can make you speak if I choose...you know that, don't you? Yes, she answers, yes. Are you going to force me to use my powers? he asks warningly...who killed Angelique? She tries to resist, but he asks again, WHO KILLED ANGELIQUE?? My mother, says Carolyn, looking as if she's about to cry. Barnabas forehead wrinkles in confusion and disbelief.

I find it difficult to believe Elizabeth was the murderer, says Barnabas. He leads the crying Carolyn over to the sofa and says, try to compose yourself...tell me why you think this is. He sits beside her. I remembered leaning down by the body, says Carolyn. Angelique was dead, and as I stood up, I picked up something from the floor...a piece of jade/ I didn't think anything about it, but it wasn't from a necklace, it was the top part of a hat pin, one of my mother's. Did you actually pick up the jade the night of the seance? asks Barnabas. Yes, wails Carolyn, but I didn't know then that Angelique had been killed by a hat pin. The murderer actually broke it off? asks Barnabas. Carolyn sobs, Barnabas!  Why do you think that your mother murdered Angelique? Barnabas persists. Carolyn raises her bowed head from her hand. If you know, tell me, he asks gently. Carolyn stands up and says, my mother hated Angelique--she won't usually admit it, she simply refuses to discuss it--Angelique treated her badly, like some poor relation she had to put up with; if my mother wanted something done about the house, Angelique took great pleasure in seeing to it that it did NOT happen. You're sure that hat pin belonged to your mother? asks Barn. Yes, says Carolyn. Someone could have taken it from her, suggests Barn...I don't think Elizabeth has the temperament to kill. Carolyn looks at him. She lived too long in that household with Angelique, says Barn--unless there's another reason you haven't told me. Carolyn looks upset. Warningly, the vampire says her name. The night of the murder, she says, Will and I fought...it wasn't Will's fault, the way he was acting, she cries--Angelique simply looked at a man and he fell in love with her...but she was running Will's life; he wasn't writing anymore, all he did was haunt Collinwood just to see her...I couldn't stand it anymore, I went to my mother and told her I was leaving Will...she became very upset. So upset that she could have...begins Barnabas.
I don't want to believe that, says Carolyn, I don't want you to believe it, either...she's had such a sad life...Barnabas, promise me you'll do nothing about what I've told you. I can't promise you that, he says softly. I won't allow it, insists Carolyn--I?ll deny everything?if my mother did murder Angelique, it's my fault, I made her do it, going to her, crying to her in fear and rage--Barnabas, don't tell the police what I've told you, please. I promise not to say anything to the police until we have further evidence, says Barn...yet we cannot ignore the fact that the hair (hat) pin was your mother's.

Collinwood - Elizabeth plays solitaire while Will sits across from her, reading. Red eight on black nine, he says, smiling. What? she asks. He goes over and moves the card. Did you hear something or someone just now? she asks. No, he responds. Are you sure? she asks. I don't think you feel like playing, he says. She rises from the sofa, preoccupied...have you seen Maggie tonight? she asks. No, he says. Quentin is in this house, insists Liz. I doubt it, says Will. Do you, honestly? she asks. Is that why you?re so jumpy? he asks. Alexis says he's mad now, says Liz. I wouldn't pay too much attention to what Alexis says, advises Will. She saw him just before he escaped, says Liz, why would he come back here, Will? If he's innocent, to find whoever is guilty, I suppose, says Will. Liz, looking guilty, says I'd like to get out of this house, perhaps come and stay with you and Carolyn. Come on, you'd hate that, says Will. No, says Liz, I wouldn't. Frankly, says Will, Carolyn has all she can handle with Barnabas right now. This upsets Liz. You've got nothing to worry about here, says Will. Haven't I? she asks him.

Loomis House - Barnabas points out to Julia, three people who were at that seance have died since-- Cyrus, Sabrina and Bruno. Do you think there's a connection? she asks. I don't know, says Barnabas. I doubt there's a connection between Sabrina and Bruno, opines Julia...Maggie found a small clay doll with Bruno's ascot tied around its neck...she found it in her drawer. Angelique no doubt put it there, says Barn. Maggie thinks Quentin put it there, says Julia, to make her feel guilty. When Quentin ran to Bruno's, Angelique went upstairs, says Barn--tied that ascot around the doll, pulled it tight...in front of Quentin, Bruno died...how clever she is...we must get that doll!that body at Stokes...the sleeping girl at the house there! What about her? asks Julia. If she moves, Angelique reacts, points out Barnabas. You said yourself we couldn't bring that girl back to consciousness, says Julia--then Angelique would die and we couldn't prove Quentin?s innocence. We can get to Angelique through her, says Barn. How? asks Julia. If we control some of her condition, slightly, says Barnabas, Angelique will collapse...then we can control her and she can do nothing...it will give us time. Impossible, objects Julia, we don't know if we can change her condition. She moved when I touched her, says Barnabas.  For an instant, says Julia. You are a scientist, says Barnabas, you've had work with this before, you worked on the life force through Adam. But Stokes won't let me do it, says Julia. He won't know what's happening, promises Barnabas, smiling--we are going to bring that girl here. No, Barnabas, objects Julia. It's perfect, says Barnabas, we can find out that secret and at the proper moment, destroy Angelique forever. By bringing that girl to life? asks Julia pointedly. Barnabas looks at her meaningfully. It won't work, Barnabas, she says--if Angelique finds that body missing, she'll know you have something to do with it...she'll come and search this house.  I'll hide her someplace else, insists Barnabas, grabbing his cape. Julia, desperate, reminds him, Angelique, enraged, will find a way to destroy you even more quickly. Barnabas slips into his cape and says, I'm ready to do battle with Angelique. He has trouble releasing his cane from the coat tree, but finally does. Julia continues, insisting, you must find Quentin. No, the girl comes first! says Barnabas, stamping his cane on the floor. Julia walks away from him and says, You'll have to figure out a way to control that girl yourself, BarnabasI will not help you.  Stunned, Barnabas walks toward her and says, You forget, Julia, that I have had work transferring life force into Adam
...it would be easier if you helped, but if you won't, I will do it alone... Barnabas, protests Julia.  He continues, I have someone who will help me...we will get that girl tonight.  He walks to the bottom of the stairs and calls Will. Julia stands by, silent and miserable.

Barnabas and Will enter the cemetery. Will asks Barnabas, how can you be so sure you?'e right about everything?--Stokes is a buddy of mine--every Wednesday, we go to the Eagle and have a few drinks together...he'd never suspect me of anything like this! Barnabas, flashlight in hand, turns to Will and assures him, I'll see how right you are when we find that girl in his house. How can you be sure there's a secret room in this place? asks Will, gesturing to the mausoleum. Because there is one in my own time, explains Barnabas, built during the Revolutionary War, to store weapons...it's the perfect place to hide this girl. Will reminds him, I know every Collins legend and there's nothing about a secret room in any of them. They enter the mausoleum, where Barnabas notes, there's the same lion's head. He gives it a pull; the secret door swings open. Barnabas ducks his head and leads Will inside. There's a table, candelabra, a cot, a crate being used as a night table. Someone's been living here, observes Barnabas. Will puts down his flashlight and lights the candles, commenting, someone left in a hurry...the milk is still fresh! Who would live here? asks Barnabas, picking up a drawing from the crate/table. I wouldn't, says Will.  Barnabas shows him the drawing--it's the girl from Stokes, he says, I'm sure of that. How could I forget her face? rhapsodizes Barnabas. The artist, notes Will, is Claude North, but I never heard of him.
Is this where she lived before? speculates Barnabas, or he did? There's no way of telling, says Will. We must find out, insists Barnabas. It's certain you cannot hide her here, says Will. This room was my refuge for over a century in my own time, says Barnabas, strange that it should serve the same purpose for someone else...someone connected with HER.

To Carolyn?s consternation, Liz is looking over her hat pin collection when her daughter enters the drawing room. Are you going to Portland tomorrow? asks Liz. I don't know, answers Carolyn, I thought I might. Liz asks for a favor...on Great Market Street, there's an antique shop, Trillings, I phoned him, he'll give you a check for me. Why are you selling your hat pins? asks Carolyn. It was foolish to ever start collecting them, says Liz. Don't sell them now, begs Carolyn. I can't bear to have them around, says Liz, to know they're here...please, take them, get rid of them for me
...why do you look so upset? I want to talk to you, says Carolyn. Go ahead, encourages Liz. I want to discuss the seance, says Carolyn. There's been enough said about that, says Liz, rising from the desk, looking uncomfortable  I mean it, Carolyn, it won't do any good to talk about it further. But the murder, says Carolyn. If it was a murder, says Liz.  It WAS murder, and you know it! cries Carolyn. Liz angrily says I don't wish to discuss it...will you take the hat pins to Portland for me? I will, agrees Carolyn, if not tomorrow, then the next day. Liz closes the hat pin box, which in another time and place held the hand of the evil Count Petofi. (even inanimate objects made different choices!)

Barnabas and Will enter Stokes' cottage. Stokes is at the Eagle until it closes, Will assures Barn--there's nothing to worry about. We'll have to carry her out to the car, says Barnabas, and out the back way so we won't be spotted.  Will hesitates. Come, Will, orders Barnabas. Pale, Will says there's someone else in this room, don't you feel it, it's so cold in here, there's someone here. Will rubs his arms, trying to warm up. You're wrong, Barnabas insists. They hear a voice, Hoffman's?murmuring,  No, no, you will not enter, you will not! No, no!  Hoffman, cries Will, it's Hoffman's voice, it's her ghost. I will not let you! says the spirit. Barnabas looks stunned but determined. Will is petrified.

NOTES: Julia finally stood up to Barnabas, insisting she won't help him. Good for her, because we know he'll botch whatever he tries to do in this instance, as history has shown us. She knows WHY he wants the girl at Loomis House, and has put her foot down. It doesn't happen often, but I always feel like cheering when it does. Julia shows backbone and tells the man she loves to go to hell with his crazy scheme!

They sure are making it seem like Liz killed Angelique, aren't they? She's so preoccupied, wants to get rid of her hat pin collection...too easy, I say. They seem to be going out of their way to make her look guilty...too much so.

Hoffman is trying, in death, to thwart Barnabas' plans to steal Roxanne. Why doesn't she just appear to Angelique and tell her the truth? Wouldn't that mess up Barnabas and Julia's plans even more?

I love Carolyn and Will in this time. They're so passionate and obviously in love, even if it has gone off-track. She wants to protect him, he wants to protect her, and Barnabas seems to know it. The looks Carolyn and Will exchange in this episode are wonderful.

That last little scene with Hoffman's ghostly appearance was genuinely chilling. I loved every moment of it.

Will Carolyn bring the incriminating hat pin to Portland? Does she think her mother guilty, and will she risk her own freedom to protect her? Stay tuned!

Who is Claude North, and what is his connection with the sleeping Roxanne? Who has been living in that drafty, mildewy tomb?

Love, Robin

139
1040 - Louis Edmonds does a scary intro, his voice delicious.

Bruno hangs up the phone. Was that wise? asks Angelique.  Perhaps I'm not interested in being wise, he retorts. I told you, she says, there's no proof in that journal against Quentin; it's simply the opinion of a dead man. Do you want to find your sister's murderer or not? he asks. Of course I do, she says, but I wonder if YOU do. Why would I call the police if I didn't? he asks. All the police will do, she says, is ask Quentin a lot of embarrassing questions. It's going to be a bit more than embarrassing, vows Bruno, because the police will REALLY investigate, like you said you would and never did. And you're convinced that this investigation will prove that Quentin is the murderer, she says. I'm depending on it, he assures her. You see, she says, you don't really want to find who Angelique's murderer is, you simply want to destroy Quentin--it's revenge, not justice, you want. He takes a cigarette from his case and says "Precisely." I can't understand why anyone would ever want to destroy Quentin, she says. My answer wouldn't be fit for a lady's ears, he says. If you're such a gentleman as all that, she says, why don't you offer me a drink?  Delighted, he says--does that mean you don't completely disapprove of what I've done? While he prepares her drink, his back is to her, she picks up a blue tie belonging to him, and says, I neither approve nor disapprove, I simply thinks you're wasting your time. Is that what you really think? asks Bruno, handing her a drink. Would I say so if it weren't? she counters. I don't know, he says, I get a very strange feeling from you this evening--you seem very aloof, yet very much involved, as if you knew exactly what you were going to do every second of the time. She sips her drink and says, I try to remain as unemotional as possible. Maybe I'm confusing you with Angelique again, he suggests--you know, she was able to do that, be seemingly very cool and distant, yet at the same time, manipulating the rest of us, as if we were puppets. That was Angelique, she says, I'm much different, remember?  So you say, he says, but then there are times when... I hope you're not going to say the obvious, she says. No, he responds. You know the reason you could never hope to compete with Angelique, she says--she was always far more fascinating, intelligent... I think you admire her almost as much as the rest of us did, comments Bruno. Perhaps even more, she says, yes, much, much more. She sips her drink.

9:30 - Collinwood - Roger exits the drawing room and is about to go upstairs when Quentin comes in. Ah, the wanderer returns! quips Roger grandly.  I don't need any of your comments, snaps Quentin. It's a pity you chose one of the more interesting nights in this dreary house to exercise your habit of dashing out into the night, says Roger--you might have been amused--then again, you might not have been amused. What about? demands Quentin impatiently. Your lodger from the nearby cottage paid a neighborly call this evening, says a grinning Roger. Bruno--what did he want? asks Quentin. "To make love to your wife--unless I'm mistaken," reveals Roger with obvious pleasure
--of course he was roundly rebuked by the "good" Mrs. Maggie Collins. Are you making this up? asks Quentin in a dangerously soft voice. You credit me with imagination far beyond my modest scope, says Roger.  Where's Maggie now? asks Quentin. Upstairs, says Roger, probably devising a new method of maddening you so you can dash out of the house again. Did it ever occur to you that you are not very funny? asks Quentin, irritated. No, says Roger, it hadn't--by the way, Bruno made his inevitable threat that the stones of our beloved Collinwood would soon be crashing down around our heads, so perhaps the activities of the evening have only just begun. Roger, having lit the match, heads upstairs. Quentin goes into the drawing room and stands by the fire.

Bruno plays Angelique's theme, looking peaceful and pleased with himself. There's a knock at the door.  Come in! calls Bruno.  It's Inspector Hamilton, who says, "I believe you wish to report a murder." In a moment, says Bruno--it would be a sacrilege to interrupt a beautiful piece of music like this--I wrote it myself--it's called "Ode to Angelique"--do you like it?--perhaps you know the lady who inspired it--the late Angelique Collins? I should warn you that I don't enjoy playing games, says Hamilton. Nor do I, Bruno assures him--that last question was very serious--did you know the late Angelique Stokes Collins? Slightly, everyone in Collinsport did, answers the Inspector--why?  It's her murder I want to report, says Bruno. Mrs. Collins died of a stroke, says Hamilton. According to whom? asks Bruno. If I remember, it was Dr. Longworth who signed the death certificate, says Hamilton. Ah, yes, Dr. Longworth--interesting fellow, wasn't he? asks Bruno--apparently a little more complex than the rest of us suspected. He chuckles. Would you mind getting to the point? asks Hamilton. Of course not, says Bruno, who holds up the copy of the page from the late, lamented Cyrus' journal--I believe it comes directly to the point.  He returns to playing Angelique's music while the Inspector reads--do you find it incredible? asks Bruno. Very, says Hamilton.  Bruno laughs--I don't mean the journal, he says, I mean my music. Hamilton looks at him with an ugly, annoyed expression on his face, and reads the page again.

Collinwood - Maggie comes downstairs and finds Quentin in the drawing room. Roger told me you were back, she says. Yes, he says, sounding distant--what about this nonsense with Bruno this evening? Nothing but a drunken, stupid incident, she reports--Quentin, we have far more important things to talk about. According to Roger, says Quentin, Bruno was very rude to you--is that true? Before you left this evening, she reminds him, you made a very serious accusation.  I don't want to talk about that, insists Quentin. "Do you really think I indulge in witchcraft? she demands. Unresponsive, he just looks at her. Do you?--answer me, she commands. Turning his back, he orders, answer the knock at the door. She does--it's Hamilton, who bids her good evening and asks for Quentin. Quentin identifies himself.  Hamilton comes in, apologizing for the inconvenience--can you spare a few moments? I'm afraid I can't, says Quentin rudely. Then I'm afraid I must insists, says the Inspector--you see, I have some very important questions to ask about the death of the first Mrs. Collins. Quentin and Maggie exchange glances.

The trio stands in the drawing room.  Mr. Collins, says Hamilton, if you want you attorney present... MY attorney? asks Quentin, why? To instruct you as to whether or not you should answer the questions I'm going to ask you, says Hamilton.  Will charges be made? asks Maggie.  I'm here for clarification of a few facts that have just come to my attention, explains the Inspector. Concerning? asks Quentin. The circumstances surrounding your first wife's death, says Hamilton.  Angelique died of a stroke, says Quentin--Dr. Longworth signed the certificate. I know, says Hamilton--you were a very close friend of Dr. Longworth's, weren't you, I mean before the recent... Yes, interrupts Quentin, he was my best friend, as a matter of fact, why do you ask? Could you verify a sample of Dr. Longworth's handwriting? asks Hamilton, holding up the copy of the incriminating page Bruno gave him. Of course, says Quentin. Do you recognize this? Hamilton asks, holding it out (white writing on back paper). Yes, says Quentin. Perhaps you'd care to read it, suggests Hamilton, it's a Photostat of a page from his journal. Thank you, says Quentin, taking the paper. He reads it, frowning, walking, then stops. The hand holding the page drops to his side. What is it? asks Maggie. Cyrus says that he falsified the death certificate, answers Quentin--Angelique was murdered. From the doorway, Roger repeats, "Murdered?"  Mr. Roger Collins? queries Hamilton. Yes, says Roger, what sort of nonsense was this?  He even gives the method of murder, says Quentin--a hat pin stuck in the base of the skull, causing instant death. NO! blurts out Maggie. Did he name who the murderer was? asks Roger. In a way, yes, says Quentin. Who? asks Roger (doesn't he look weird)? He admits it's his own opinion, says Quentin, but he feels that, nevertheless, it's a very good one. Quentin, says Maggie--who was it?  "Me, of course," says Quentin with a crooked smile. That's not possible, she protests. Hamilton takes back the paper and says, if you will all excuse me, I'd like to ask a few questions about the seance during which the death took place. Absurd! pronounces Roger, proceeding on the opinion of a dead man and one who proved to be less than perfect in the end!  All I want is a few facts, says the Inspector to Roger--you were at the seance, weren't you? Yes, I was, answers Roger, why? Then perhaps after I talk to Mrs. Collins' husband, you'll permit me to ask YOU a few questions, as well, says the Inspector.  Before Roger can answer, Maggie says, please, allow me to speak with my husband alone. Hamilton suggests to Roger, the two of us can go into the foyer. Certainly, says Roger. Left alone, Maggie asks Quentin, should you call Chris or one of his partners to...  Why? asks Quentin abruptly. To advise you, says Maggie, before you say anything.  Why should I need advice? he demands. Because... she begins.  He fills in the blank himself--because you believe I murdered Angelique. No, she says, I didn't say that. If I'm innocent, he asks, why should I need legal advice before answering any questions? I just don't want anything to happen to you, she responds, her voice trembling. Are you sure that's the reason? he asks--this isn't the first time you've considered the possibility of my having murdered Angelique. I never thought you did and I don't now, she insists, tears in her voice at his cruel accusation. He walks past her and pulls opens the double doors--Inspector, he says, I'll be more than happy to answer any questions you might have. Hamilton and Roger enter the drawing room, as does Angelique. "Oh, we have a visitor!" she says, smiling. Quentin introduces her to Hamilton as Alexis, Angelique's twin sister. No need to tell me that--the resemblance is remarkable, says Hamilton. The Inspector is here to ask me some questions regarding Angelique's death, explains Quentin. Looking stricken, Alexis says, "I see."  Of course you won't be questioned, says Roger--you weren't here at the time of the seance. However, says Hamilton, there might be a few things I might like to speak to Miss Stokes about. She knows nothing about any of this, insists Quentin. That's not quite true, is it, Miss Stokes? asks Hamilton. I don't know what you mean, she says. He holds out the Photostat and asks, do you recognize this?  She glances it over--where did you get it? she asks. Where I got it isn't important, says Hamilton-- what is important is that you, Miss Stokes, have the original journal from which it was taken--am I right? She stares at him, trembling.  Quentin's eyes narrow as he looks at her.

Yes, admits Angelique, I have Cyrus' journal. Why didn't you tell anyone? asks Quentin. Because I know that none of what Cyrus said was true, she replies. Do you consider yourself the best judge of that? asks Hamilton. In this case, yes, she says, because I am positive that Quentin could never have murdered Angelique. On what do you base this assumption? the Inspector asks. Because Quentin loved her more than anything in the world, and she loved him, says Angelique. Hearing this, Maggie gives a little start.  Angelique continues--there were never two people who loved each other more--tell him, Quentin that what I say is true!  I'm more interested in knowing how you got hold of this journal, says Quentin--certainly Cyrus didn't give it to you.  I'm  not sure I want to tell you, says Ang. I want to know very much where you got it and how, says Quentin angrily. She looks at him, turns away, doesn't answer. Hamilton reveals to Quentin, a Photostat of that page was given to me by Bruno Hess--it was he who called the police. Roger listens intently. Bruno, says Quentin as if it's a dirty word--I should have known he had a hand in this. Cyrus left the journal with him, says Ang, I bought it hoping to keep it secret.
He's only out to cause trouble, says Quentin--well he won't be causing trouble much longer. Mr. Collins, I don't think there's that much cause for excitement, says Hamilton.  Angelique smiles slightly. You don't know how much I've had to take from that man, says Quentin, barely controlling his anger--Inspector, I'm sorry, but I won't answer questions of anyone sent to this house by Mr. Hess. It would be better to get this over with now, Maggie advises Quentin.  I'd like to get it over with, all right, threatens Quentin--with Bruno and my bare hands!  It's all my fault, laments Angelique, Inspector, would you mind if I spoke to Quentin alone?  She leads Quentin into the foyer and says, there's no reason for you to be so angry, Bruno isn't worth it!  She closes the double doors on the other three and privately tells Quentin, it would all be over with in just a moment if you would just answer the Inspector's questions--you have nothing to fear, I'm sure of that--Bruno only wanted to cause you trouble--I'm sure he's sitting at home having a good laugh, knowing how angry you must be. He won't be laughing much longer, says Quentin, who bolts for the door.  "Quentin, no--don't!" Angelique insists, but he's gone. Angelique closes the door and grins, very proud of herself. She goes upstairs.

Drawing room - What a volatile man your husband is, Hamilton remarks to Maggie.  Sometimes, she admits. Roger adds, the subject of Bruno is particularly goading to him--for reasons I won't go into now.  Maggie shoots Roger a look of disgust and fury, then opens the double doors--Quentin, the Inspector is...  No one is there.  Where did they go? asks Hamilton. I don't know, says Maggie, unless he's gone up to the bedroom--I'll go see. Tell him, says Hamilton, that I'm very anxious to speak to him. Yes, of course, says Maggie, and hurries upstairs. Quentin may have headed for Bruno's cottage, suggests Roger. I certainly hope not, says Hamilton, but since I have a few more things to discuss with Mr. Hess, I had better take another look. I don't think that would be a bad idea, says Roger calculatingly--not a bad idea at all.

Cottage - Bruno, where did you get a copy of that journal, demands Quentin--you stole it, didn't you? I hardly think that you're in a position...begins Bruno.  Quentin grabs his arm and whirls him around, warning, you aren't going to get away with it this time. He forces the struggling Bruno into a headlock and orders, you're going to leave this house--tonight!--you hear that?--tonight!  He tightens his grip on Bruno's throat. Stop it! chokes out Bruno. Quentin gives him a push--"You're not worth killing!" he declares.  Bruno, nursing his throat, abruptly begins to choke in earnest, even though Quentin is no where near him. He pulls at some invisible force applying pressure to his throat, gasping, "Please, I can't breathe!"  (then how come you're talking?)
We see a statue (Beethoven?) from Bruno's cottage; tied around its throat is Bruno's stolen tie.  Angelique is strangling the statue, tightening brutally.  Bruno falls to the floor. Quentin laughs at what he perceives to be an act on Bruno's part; when the pianist falls to the floor, he applauds. "Very dramatic!" pronounces Quentin, "Now suppose you get up and take a bow."  Receiving no response, he kneels and asks, what's the matter, Bruno?  Realizing something is very wrong, he grabs Bruno's lapels, shakes him, calls his name. Inspector Hamilton enters the cottage at that very moment.
"Mr. Collins," says Hamilton, "I hope for your sake that he isn't dead."

NOTES: I like Inspector Hamilton, he's cool, and one of the few cops on DS who actually seemed to know what he was doing. This actor does a nice job.

So, Angelique's plot is to have Quentin arrested for Bruno's murder, since there's no proof he's responsible for her own. Rather mundane--but how does she expect to get him back then? Does she even want him back, or have her original plans changed? And was it my imagination, or was Roger just a tad too interested (and nervous) in learning who Cyrus fingered as responsible for Angelique's murder?

As always, Roger is droll and nasty, a fun character to watch interact with others. Does he have a dark secret?

Angelique not only kills strangers, she is willing to murder former lovers to get what she wants. How cold she is! We can safely assume she and Bruno got naked together on more than one occasion, so her callous attitude toward him is really chilling. At least if she'd done away with him in her conventional manner, via the hug and kiss of death, he would have had something nice to remember her by in the afterlife.  Now she's murdered him and perfectly framed Quentin. Such a bitch!

Quentin blundered into this one, and it was all engineered beautifully by Angelique. She fired him up and sent him running to Bruno, and Roger helped it along by suggesting Hamilton go to Bruno's cottage--and voila, the Inspector has caught Quentin apparently strangling a man who had made a recent pass at his wife and was trying to frame HIM for murder.

This is actually pretty good, but once again, Angelique's motives are murky. Apparently she believes Quentin DID kill her, but if he purportedly loved her as much as she claims, why would he do such a thing?  And why would she suspect him, if things were that great between them?


1041 - The dummy portraying Bruno wavers as Quentin kneels beside it. Inspector Hamilton says, I hope, for your sake, that he isn't dead.

Quentin gazes up at the Inspector and rises to his feet. Is the man going to be all right? asks Hamilton. I don't know, answers Quentin. Suppose we find out, says the cop, kneeling to check the body.  Standing, Hamilton says, "He's dead, Mr. Collins."  He can't be, says Quentin. But he is, says Hamilton--now suppose you tell me what happened. I don't know, says Quentin--I mean, I can't understand. You mean you found him like this when you arrived? asks the Inspector. No, says Quentin. He was alive, suggests the inspector, and you quarreled with him and killed him. NO! says Quentin. How did he die? asks Hamilton. I don't know how he died, says Quentin, shaken, he just suddenly began to choke, I thought it was an act. A man doesn't suddenly begin to choke to death for no reason at all, says Hamilton. Listen to me, says Quentin, I'm telling you that I did not kill this man. Perhaps you didn't, says the Inspector, but the fact is, Mr. Bruno Hess is dead, isn't he, and the further fact is, that when I talked to him earlier this evening, he seemed in excellent health. Quentin tries to speak, but Hamilton goes on, "And while we're dealing with facts, Mr. Collins, you were, in fact, angry enough to kill him with your bare hands, you said so yourself."  Quentin admits, I was angry, but I'm not responsible for this man's death, that's all I can tell you. That's not enough, says Hamilton. Listen to me! says Quentin. I advise you to listen to me, says Hamilton, I'm placing you under arrest--the charge is suspicion of murder--it is my duty to tell you that from this moment on, anything you say may be used against you--if you wish, you may call your attorney. You can bet I want to call him, says Quentin, and picks up the phone.  I derive no pleasure from having to do this, says the Inspector--I appreciate your position in this matter, and hope, for your sake, that I'm wrong.

Angelique enters Maggie's room, opens the top drawer of the dresser and leaves the ascot-wrapped statue there. She grins and leaves the room.

Drawing room - I can't believe you're arresting Quentin on suspicion of murder, Inspector, says Maggie. It's all right, says Quentin--I've talked to my lawyer and they're working on my release. If your husband is innocent, says Hamilton, there's nothing to worry about. Quentin, I don't know what to do or say to help, says Maggie, upset. There's nothing you or anyone else can do until we determine how Bruno died, says Quentin. From the doorway, Angelique gasps--Bruno's dead? I'm afraid so, says Hamilton. I don't believe it, how did it happen? asks Ang. That's what we intend to find out when we question Mr. Collins, says Hamilton. The Inspector thinks I did it, says Quentin. Angelique feigns surprise--oh, no! The charge is only suspicion of murder, Hamilton reminds Quentin, I haven't stated flatly that you did it, because I don't know, but I did discover you standing over the body. "I don't believe that Quentin could have murdered anyone!" says Angelique defiantly. I sincerely hope you're right, says the Inspector--I must admit, his position is rather shaky. Angelique walks to the other side of the room. Shall we be going? asks Hamilton. May I have one last request before I go? inquires Quentin. Depends on what it is, says the Inspector. I'd like to take some things with me, says Q, if I'm going to be the guest of State overnight. Maggie looks stricken. I'd like to go up to my room, adds Quentin. By all means, but I'll have to accompany you, says Hamilton--you do understand. Of course, says Quentin, do you want to handcuff me?  I assume, or hope, there's no reason why you should try to escape. Says Hamilton. Quentin slips his hand briefly in Maggie's and says, I'll be down in a few minutes. Maggie looks ill.  I'm so sorry, Maggie, says Angelique.  I just wish I'd known he intended to go to the cottage, says Maggie--Quentin was in no shape to face Bruno. You don't believe Quentin really did kill Bruno? asks Ang--do you?  I don't know, says Maggie--Hamilton says Bruno was alive when he got to the cottage, now he's dead.--it does look very bad for Quentin. Angelique grins.

Upstairs, Quentin assures Hamilton, I'll only be a minute. The cop says he has plenty of time. Quentin grabs a suitcase from under the bed, then goes to the dresser and starts gathering grooming supplies. Is there nothing else you'd like to tell me? asks Hamilton--it might be some help to us later on.
Quentin pulls open the drawer and finds Angelique's little gift. He holds it up. Hamilton again asks, "What about it, Mr. Collins?"  Quentin puts the evidence back in the drawer, turns, and says curtly, "No, I have nothing more to say--and even if I did, I'm quite sure you wouldn't believe a word of it."

Quentin, followed by Hamilton, heads downstairs. Quentin looks at Maggie for a long moment.
Daniel will want to know where you've gone, says Maggie. Yes, I suppose he will, says Quentin evenly. What will I tell him? she asks. That I've been called away on business, replies Quentin. (and the newspapers won't be full of this for the child to read?)  All right, I will, she says--why are you looking at me that way?  Just wondering what you think about all this, he says.  I don't know, she admits--it's all happened so suddenly. Suddenly?--I don't think so, he says. What do you mean? she asks. I'm not sure I know what I mean, says Quentin, as the Inspector listens closely--I want to think about a lot of things. Yes, she agrees distantly, that's how I feel, too. I'm ready when you are, Inspector, says Quentin.  The two men leave. Quentin looks back at the very unhappy Maggie one more time.

Outside, Hamilton points out to Quentin, you asked your wife what she really thought of this, and what an odd comment that was--the implication was that she might think you guilty--do you believe she does? Why don't you ask her? suggests Quentin. Perhaps I shall, says the Inspector, and they leave.

Police station - Barnabas is gazing through the glass jar of a water cooler when Quentin enters and asks, who told you I was here?  Maggie, of course, says Barn. Oh, chuckles Quentin bitterly. You look as if that surprises you, says Barnabas. Nothing surprises me anymore, says Quentin. If there's anything I can do, any way I can help, offers Barnabas.  No, Quentin assures him, the lawyers are taking care of everything, arranging bail for me in the morning. That won't be the end of it, says Barnabas, there's still the matter of proving your innocence. Do you think me  innocent? asks Quentin. Don't be absurd, says Barnabas--of course I do. You must have a lot of faith in me, says Quentin, because the Inspector has a good case against me--when he got to the cottage, Bruno was alive; when the Inspector arrived, Bruno was dead, and I was standing over the body. Have you any idea what killed Bruno? asks Barnabas. Yes, says Quentin, I think I found the murder weapon just before I left the house--Bruno was killed by witchcraft--I found a small voodoo doll, around the doll's neck was a scarf (?) that belonged to Bruno--someone choked him to death from a distance, someone who knew I'd be with him at that time. Where did you find these things? asks Barn. In my wife's dresser, reveals Quentin. Barnabas, shocked, can only muster up one word--"Maggie." Obviously, we have been wrong about my dear little wife, says Quentin. Barnabas looks at him, stands, and says, if you think for a moment Maggie could be capable of killing someone. . ..I'm ready to believe anything, answers Quentin--Barnabas, you seem to forget this is the third time I have found evidence of witchcraft in that house--and each time, it was linked to Maggie. Quentin! says Barnabas, Maggie is not a witch, she loves you very much--now, are your lawyers sure they can get you out of here by morning? Yes, says Quentin. I'm going to be out of town all day tomorrow, says Barnabas, but I want to see you in the evening--if we work together, we will be able to prove who killed Bruno and who has been wrecking your marriage. All right, agrees Quentin, I'll be at Collinwood all day and night tomorrow--I'll see you at your convenience. Hamilton enters--the coroner has finished the autopsy on Bruno, says the Inspector, I will have his report within the hour. Quentin and Barnabas exchange glances of concern.

Collinwood - Our course was clear, Barnabas, rants Julia--if we had destroyed the body we found at Stokes' cottage, then Angelique would have been destroyed, too, and none of this would have happened--and Quentin wouldn't be in jail now because Bruno would still be alive!  She's so annoyed with Barn, she actually stamps her foot. Barnabas agrees that "we" (what's this we stuff?) were wrong, but there's no point in going over that now. I know, says Julia, but if we destroy the body now, we'll be destroying the actual murderer. And signing Quentin's death warrant, agrees Barnabas. What are we going to do? asks Julia.  Ironically enough, says Barn, we can't let anything happen to Alexis if we are to prove she killed Bruno, we must keep her alive
--I know it's a risk for you, he says, moving in very close, but I want you to stay with her as often as you can and keep me informed about her plans. Julia nods, looking scared.

Angelique goes to Maggie's room and asks, have you heard anything from the lawyers?  Not yet, says Maggie. I wouldn't worry if I were you, says Alexis, they're sure to have Quentin home, tomorrow at the latest. Strange as it may sound, says Maggie, i'd rather it took even longer. Maggie, what are you saying? the other woman asks. I need time to think, insists Maggie, Cyrus was Quentin's best friend, even Cyrus thought Quentin killed Angelique. You think is that Cyrus is mistaken, insists Angelique--Maggie, even though we know Quentin has a bad temper, prone to jealousy, we also know he loved Angelique, never would have killed her--why if he did that. . . she walks away.  Maggie asks, "He could what?" Nothing, says Angelique. You were going to say he'd be capable of killing again! accuses Maggie, weren't you? No I wasn't, says Ang, let's just drop the subject--we must both have faith in Quentin, and must be true to that faith. She grins.

Police station - Quentin gazes out the window and paces. Hamilton enters.  What did the coroner have to say? asks Quentin  Bruno Hess died of strangulation, reveals the Inspector, there were marks on his neck indicating where you placed your two hands. (wouldn't fingers leave different marks than a ascot?)  Quentin says, "Inspector, I did NOT kill that man!" There was no other person in the room with him--you are the only possible suspect, says Hamilton--you are no longer being held on suspicion--the charge is now murder, in the first degree. I want to talk to my lawyer, insists Quentin. If it's about bail, says Hamilton, I can save you the trouble--in view of the new charge, Judge McDonald has refused to grant bail--it appears you're going to be with us for a while, Mr. Collins. Quentin looks unhappy and pissed off.

I want to talk to my lawyer, anyway, insists Quentin--I have that right. So you do, agrees Hamilton, and you may in just a moment, but first, there's something else you ought to know. You're just full of information, aren't you? asks Quentin, sitting down. Part of my job, says Hamilton--in light of this evening's events, we now think it practical to reinvestigate the circumstances of the death of your first wife--we now tend to believe what Dr. Longworth wrote in his journal, but of course, the only way we can verify his opinion is to have your first wife's body exhumed. (Uh oh!) Exhumed? repeats Quentin--you can't do that. I'm afraid we can, Mr. Collins, says Hamilton. I won't allow it, asserts Quentin. Your consent is not required, says Hamilton--it will be done with a court order--that does seem to trouble you--perhaps you're afraid of what we will find. Quentin's face seems to crumple, for he knows damn well there is no body to exhume.

On the phone, Maggie thanks someone for calling, then hangs up, very upset. Barnabas enters.  The lawyers just called to tell me bail had been denied, she says. This stuns Barnabas. The charge has been changed to murder in the first degree, adds Maggie. Barnabas gently asks, do you believe he's guilty?  Maggie says uncomfortably, I don't know. You can't afford to have doubts at a time like this, insists Barn--do the police have the journal now?  Yes, she says, Alexis gave it to them. Alexis? asks Barn. She apparently bought the journal from Bruno, says Maggie, and intended to keep it quiet, but Bruno made a photostatic copy of it and that's what he showed the police. She intended to keep that journal quiet? asks Barnabas. Yes, says Maggie, she didn't believe any part of it was accurate and tried to protect Quentin, just the same as Cyrus tried to protect him the night Angelique died--I just wish that I had as much faith in Quentin as she seems to have!  Quentin is innocent, insists Barn, and we can help him as long as Quentin cooperates with the authorities and doesn't panic. Maggie, unable to reply, turns away from him.

Police station - Angelique asks Quentin, are you sure there's nothing the lawyers can do?   Positive, he says, the judge had a perfect right to refuse bail during a murder case. She looks disappointed. The denial of bail isn't what bothers me, says Quentin, it's their decision to exhume Angelique's body, Yes, I know, she says. What are we going to do when they discover there is no body to exhume?  We will answer an awful lot of questions, she responds. Which we can't afford to answer, says Quentin--if I tell them Cyrus and I destroyed the body, they're going to demand to know why--this whole situation is hopeless. No, she says, it's only hopeless as long as you're here in this jail--you must get out of here, it's the only way to prove your innocence. I've tried to get out, I can't, he reminds her. There is one other way, she says. Escape? he asks. Yes, she says. Please don't be absurd, he says. I know what you told me about finding the doll and ascot in Maggie's drawer, but she's being used, just as you are--there's some kind of a vicious plot against you, and you're both pawns in that plot--you've got to get out of here, and there's only one way to find out who's behind this and clear your own name--you must be free, Quentin, free to solve Bruno's murder as well as Angelique's--it's the only way--and I am willing to do everything I can to help you.

On the phone at his desk, Hamilton admonishes, I don't want Judge McDonald troubled again tonight--this can wait until morning--how long will it take to get orders to exhume the body?--good, I want to make all the necessary arrangements at the cemetery. Angelique's scream fills his world. "I'll call you back," says Hamilton, and races toward the other room. "Come in here!" Angelique screeches. As soon as Hamilton enters the room, Quentin leaps from the bench on which he's been standing and karate chops the Inspector, sending him to the floor, unconscious.
Quentin leaves the police station. Angelique surveys the Inspector's unmoving body.

NOTES: Okay! So now Angelique has encouraged Quentin to escape jail, making him a fugitive who will be sought by the police--open to being killed. Again, what's her motivation--to have him shot dead by the cops? What does she want, exactly? Good job, Ang! Foolish man, Quentin! Don't listen to her, she means you evil! EEEEVIL!

Angelique did a wonderful job of making Quentin look guilty, and now she's doing a great job of making Maggie look guilty in Quentin's eyes. Aside from making it appear she's still friend to both of them, why is she assuring each of them that she believes the are both pawns in someone else's scheme? Is she trying to shed guilt on another, perhaps Barnabas?

One wishes that at this critical juncture (and since he didn't dispose of Roxanne when he has the chance) that Barnabas would simply tell both Quentin and Maggie that Alexis/Angelique is behind this entire thing.  At this point, however, it might be too late. Julia is right to be annoyed at Barn, to even stamp her foot in anger, because Barnabas' thinking with his loins is causing a serious, possibly deadly, ripple effect.

What is going to happen to these hapless PT players?

Love, Robin

140
1038 - Maggie, massaging her aching temples, keeps moaning, "I'm not a witch!"  She rushes to the door and begs Quentin, "Come back!"

Back by the drawing room fire, Angelique nastily informs the absent Maggie, Quentin will not come back, not even if he wants to, he won't be back! She looks away from the fire and tells the absent Quentin, Maggie is the witch--you have seen it now with your own eyes, and you will leave this house.  Hearing footsteps, she murmurs, "You will leave now and not come back until it's too late for both of you--you WILL leave, Quentin." The front door slams.  She smiles. "I have much, much more to do," she declares, rising.

Maggie picks up and stares at the necklace she used to "cast" the spell on Alexis. Angelique enters--is something wrong? she asks. Maggie flinches and piles the necklace into one hand. I'm your friend, says Ang, you can tell me--have you had another fight with Quentin?--I don't mean to pry, of course, but sometimes talking it over does give one...perspective?--you're holding my locket--what's wrong?  Maggie begins to cry. I went to your room, I took it, sobs Maggie, I don't know why I did it--it doesn't make any sense at all--I don't know why I do these things. I don't either, says Ang. I don't know what I'm going to do, cries Maggie.  Somebody is using you, I'm certain of that, says Ang--somebody is forcing you to do these things--if they aren't here in this house, than it's someone near enough to have caused all this trouble. I thought it might be Cyrus, says Maggie. Cyrus is dead, points out Angelique, but these things are still going on--tell me this--how much do all of us know about Barnabas? It couldn't be him, asserts Maggie, he has no reason.  He doesn't seem to have, agrees Ang, but this is some part of a master plan, and we've got to find out who is behind this, "Because you can't take much more of this, I know that." There is someone in this house who does hate me, says Maggie, but not Barnabas--it's Hoffman. It isn't her, I'm sure of that, says Ang. Roger? suggests Maggie. We'll have to watch him very closely, says Ang--I'm going to find Quentin. NO! protests Maggie. But I must--I can convince him there's some kind of a plot against you, insists the murderous blond. Please, don't, begs Maggie, praising her kindness and understanding--I don't want you to interfere between me and Quentin. You're probably right, agrees Ang, if you feel so strongly, you must be--but I will find out who is doing this, I can do that for you, if you'll just let me. Maggie nods.  Angelique grins in triumph.

Julia paces around Barnabas' coffin as it begins to open. She smiles at him. "Barnabas!" she greets him joyously. "So you've found me out!" he says, incensed. No! she says, realizing what he's thinking. He rises from the coffin, promising, it will be the last thing you ever do. No, she protests, holding up her hands defensively--Barnabas, it's me, Julia, I'm dressed this way for a reason! You expect me to believe that? he demands, facing her from the opposite side of the coffin. You must, she says--I was in the room, I waited for the room to change just as you did, I was so afraid for you, I had a terrible premonition that seems to have come true--look, she says, taking hammer and stake in hand, desperate to convince him--Hoffman had them, she was at your coffin--she's dead now. You killed her? asks Barnabas. "She had the stake at your heart, Barnabas," says Julia, as if that explains everything--"she meant to destroy you."
His face changes from anger to gratitude.  He comes to her side and says, tenderly, "You did this for me? Thank you, Julia, I'm, grateful to you again--now we must find a way to get you back to your own time." Do you think I would leave? she objects, no, you need me here, Angelique thinks that I'm HER Hoffman.  Nothing could be more dangerous to you, says Barnabas. I can find out all her plans before she starts them, says Julia. Angelique and Hoffman were so close, there are any number of details Angelique can catch you up on, he reminds her. "Barnabas," she says determinedly, "I will stay here, I will keep to this plan--perhaps I like being a spy--I always wanted to be."  Grinning with delight, she adds, "Who hasn't?"--perhaps I can even find out how to destroy her. I doubt that, Barnabas replies. She is dead, some power is keeping her walking, talking, says Julia. It will be enough to learn what her real intentions are here, he says--"And I believe that they are more than merely trying to separate Quentin and Maggie--much more." I'd better be getting back to her, says Julia, I just wanted to see you. Dear friend, he says, his hands on her arms. You would have done the same for me, she says. They're close enough to kiss, and for a moment, we think (hope!) they might. Yes of course, he agrees, smiling. (His face goes gentle.)  I'll be back later, promises Julia--Barnabas, be careful. She closes the bookcase behind her.

Angelique, reading the tarot in the drawing room when Julia returns, angrily asks, where have you been?  On an errand, says Julia--do you think you should be using these cards here?  No one will discover me, Angelique assures her, Quentin's out of the house, Maggie in her room, crying, probably--I thought this the perfect time to see if I shall succeed or not. She selects a card and reveals the hanging man--"and I shall."  I know my murderer, Julia, reveals Angelique--you see what you missed by not being around? Who murdered you? asks Julia. I was killed by someone who adored me, says Ang, by someone who was so jealous...  Quentin? says Julia--but how do you know it's true? Cyrus left something, I'll show it to you later, says Ang. What are you going to do about it? asks Julia. Everything, Ang assures her, standing up--everything! What specifically? asks Julia. I have so many plans, Ang responds, each one better than the last. Tell me! begs Julia shrilly. Ang gazes at her, startled. I want to help you, smiles Julia, carefully calmer. Of course you shall, Ang assures her, just as you always do--you are going to enjoy this, Julia, just you wait and see.  Angelique suddenly grows faint. What's wrong? asks Julia.  My father, moans Angelique, passing out on the floor.

Julia kneels beside Angelique, waving smelling salts under her nose.  Regaining consciousness, Angelique weakly says, "Get Father...why haven't you gone?--he's causing this--go! I didn't know, says Julia. Don't you remember? asks Ang, the last time I told you--what's wrong with you, hurry, stop him! Yes, of course, says Julia, and leaves the drawing room, closing the door behind her. Her father, muses Julia, what does she mean?--I don't even know where he lives...the phone book!  She goes to get it.

Stokes is busy in the room with Angelique's life force woman. He lifts the sheet and gives the unconscious girl an injection of red fluid. He answers the knock at his door.  Knocking? he asks Julia, surprised--how formal you've become, especially since I was expecting you--Angelique has fainted, I suppose. Yes, says Julia. And she blames me, of course, he says, taking a sip of his drink--she should trust me more. Julia comes inside--what happened? she asks. What I hoped was merely a singular occurrence is something more, he says--there's no explanation, of course. There must be, insists Julia--Angelique told me not to come back until I knew. You must understand, he says, that in experiments like this, we are dealing with the complete unknown--she did tell you about the body, didn't she? Some, hedges Julia. Aren't you going to congratulate me? he asks--I've given you back your Angelique. She smiles--you know how glad I am, she says.  Hoffman, you could never stand the sight of me, he reminds her--I could never expect more than cursory compliments on my one great triumph. She was so vague, says Julia, I'm afraid I don't really understand. Neither do I, he says, I must check the body, I was trying to calm it when you interrupted me. Entering the other room, he says, I suppose I underestimated the human spirit. He pushes back the curtain--come in, he urges.  She surveys the sheet-draped body.
A corpse, says Stokes, that's what you'd think, wouldn't you, but we know different--one thing I overlooked was the strength of the continuing will to survive--even now she continues to struggle to regain her life force--how incredible the human spirit is. What do you mean, struggles to get back? queries Julia. She wants to be alive, says Stokes, to walk and talk as we do. You have taken her life force away? asks Julia. Come, Hoffman, he chides, don't pretend to be surprised, surely Angelique told you her very existence depends on the life force of another. I didn't understand, says Julia. I thought I removed the life force completely, says Stokes, but apparently not--when she uses her will, poor Angelique becomes as she was when she sent you here. If anything happens to the body, begins Julia.  Angelique could die, finishes Stokes, but nothing will happen, nothing--tell Angelique I have given it an injection which should stun what remains of the life force--when you return to Collinwood, I'm sure you'll find Angelique completely recovered. She nods. How lucky you are, he says, you live in the best of all possible worlds--to enjoy the luxury of Collinwood, wealth and companionship without the responsibility of being a Collins. But I don't have the money, either, she points out. Stokes says that's a situation that will change--I'm sure Angelique will reward you lavishly; I however, might have to remind her that I am the one to whom she owes her existence--when that moment comes, she alone represents the Collins family. I'd better be going back, says Julia. Has Angelique had had any further trouble with Barnabas Collins? asks Stokes. No, says Julia, why do you ask? She will, that's all, says Stokes gloomily, I know HE is the enemy. Julia's eyes reflect fear.

Loomis House - Maggie brings Barnabas up to date on what happened at Collinwood.  I can't believe what you're saying, he says.  Is it possible I might have done these things unconsciously? she asks--that I...  "That Quentin's right--that you're a witch?" demands Barnabas angrily. She looks ashamed. No, my dear, he says, you are not responsible for what happened at Collinwood; now, that will be clear to everyone. You sound so sure, she says. I am confident, he assures her. Why? she asks.
My dear, trust me, says Barnabas, wait, please. She considers what he said.

Hoffman, you know my father so well, says Angelique--was he telling the truth or just trying to teach me another lesson? No, he was telling the truth, I'm sure, says Julia, but you do neglect him frightfully. Neglect him? says Angelique, annoyed--all he wants to do is sit around here and drink Quentin's brandy. Let him, advises Julia, why not really make him your friend--he's someone you need more than you need anyone else, you know that--invite him over tonight, talk to him.  I could persuade him to go on with his work, says Angelique--there must be some way he can stop these terrible attacks--yes, and tonight would be perfect, because Quentin's out of the house and Maggie's having her dinner in her room--yes, perfect! She goes to the phone and dials, very pleased with herself.

Loomis House - Julia, says Barnabas exultantly, you've brought me so much information, I hardly knows what to do with it all--is it possible we've found a way to defeat Angelique? Yes, it is, says Julia, smiling. Stokes, says Barnabas, it's incredible, all the pieces begin to fit together, don't they?--Angelique thinks Quentin murdered her--revenge, yes, I don't believe he did, but the important thing is, she does--well, we can end it now. We can destroy the body, says Julia. And Angelique will die, smiles Barnabas, and then it will be all over. He and Julia are once again close enough to kiss, and she revels in his joy. Then we can go back to our own time, she says. We must plan this very carefully, he says, make no mistakes. You will come to Collinwood at eight, says Julia--Angelique knows I'll be out of the house for the evening. Half an hour from now, says Barnabas--are you sure that no one will be with the body? Positive, Julia assures him. Barnabas opens a desk drawer. What are you looking for? she asks. Something Will showed me once, he says, and pulls a knife from the drawer and holds it up. This will end the reign of terror at Collinwood, says Barnabas confidently--tonight!

8:05 - Angelique answers the door at Collinwood and greets her father. He unwraps a scarf from his neck and says, I don't approve of your answering the door--when there are servants, one should use them.  Hoffman's in the village, says Angelique. He gazes around with satisfaction--it's a pleasure every time I visit this house--are you alone? Yes, she says, and we have much to discuss--would you like a martini?  I think I'll have several, he says. Anything you want, Father, she assures him, pouring. What do you want from me? he asks.  I want to encourage you, she replies, to convince you to continue with your work. I didn't come here to discuss that, he says, let me entertain the illusion that I am to the manor born. I cannot go on having these attacks, Father, she says, there must be something you can do. He shakes his head--I don't see what. Find some way to control that girl, she suggests. I'm almost content to rest on my laurels, he says, sipping his drink. No, I won't let you, she insists--you can't, it's too important.  Momentary faintness seems a small price to pay for life, he says. (What about the dead bodies she leaves in her wake?) I can't take the chance of even a momentary faintness, not anymore, she insists. Why? he asks. Never mind, she says.  He insists upon knowing.
All right, she agrees, you who love this house so much, take a long, last look at it, Father, because it's going to be very different--the people who own this house are going to get what they have deserved all along, and not a member of this family will remain untouched, I promise you that!--The Collinses will be a family that is finished, so we must work very hard, Father, because it all depends on me. She toasts herself.  Stokes, looking worried, drinks.

Barnabas and Julia, who has stolen Angelique's key, enter Stokes' cottage. Will Angelique miss it? asks Barnabas.  No, she says, she only keeps it in her drawer in case of emergencies. Where is the body? He asks.  She shows him. It's all so easy, isn't it? he asks.  Are you having second thoughts? Asks Julia.  Of course not, he assures her--it's just that I've spent so many hours trying to find a way to defeat Angelique. Come, she says, and opens the door. Barnabas looks down at the sheet-draped form and says so, that body has made Angelique live again--another innocent must die. I know how you're feeling, she says, but she's not truly alive--and she would destroy other people, I'm convinced of that. Yes, agrees Barnabas. Julia takes the knife from her bag. It must be done, says Barnabas sadly. Then we must decide what to do about Stokes, says Julia--he could find another body and have Angelique live again. "It never ends, does it," says Barnabas, "when one begins to unravel evil?" (Quite profound.) He takes the knife from Julia, who says, "No, Barnabas." Yes, he says, now... He takes the knife in hand and holds it in stabbing position over the body. Julia draws back the covers.  Barnabas gazes down, astonished.

NOTES: Drats, talk about wasted opportunities! Barnabas and Julia shared a special moment of intimacy after she convinced him she was HIS Julia, not the evil Hoffman--yet not even a hug to thank her for saving his life--and certainly, a kiss would have been even better! They were so close to touching, yet the only contact he made was to hold her shoulders. This was very disappointing, even back in 1970, but it's going to get worse for Julia fans, believe me. The mischief in Julia's eyes and voice when she tells him she's always wanted to be a spy was delicious. The scene in the Loomis drawing room was another great one between them, they were both so proud of each other and their hope to get rid of Angelique once and for all; you'd have thought they would share a celebratory hug, at the very least--but no! Both scenes were just beautifully played by Hall and Frid.

Thayer David is marvelous. His request to pretend to be the lord of the manor for a few moments was a hoot. The relationship between him and Angelique is such an odd one, a mixture of love, hate and other components I don't want to examine too closely. He is holding a woman prisoner, in a way, for his stepdaughter's life to go on, and thinks a few fainting spells is OK. What about when the cold drives his daughter to murder? It's chilling.

I don't think Julia is acting enough like Hoffman. She's much less formal, less rigid, and I can't help but worry that Angelique will be on to her sooner rather than later. She's just pre-occupied now.

Tomorrow, Julia fans are in for an unpleasant surprise. Those who've seen the episode will already know what I mean. Given the nice scenes between Barn and Julia today, what is going to happen will be a huge disappointment.

Maggie is just so annoying!. She's just accepting the possibility she might be the witch, acting subconsciously. I really do think she and Quentin should call their marriage quits. Or perhaps they deserve each other, in some bizarre way?

Interesting stuff coming down, and another introduction of a character who goes no where. Can anyone say Claude North? I knew you could.


1039 - Julia hands Barnabas the knife and draws back the sheet--do it now, she urges.  Barnabas, however, is stunned when he beholds the woman lying on the table, seemingly unable to proceed.  Noting his hesitation, Julia asks Barnabas, what's wrong?  "She's so beautiful," he says reverently. The woman has short, red hair, and someone has done a splendid job on her creamy complexion with makeup.  She's wearing a blue nightgown that shows off two healthy, pointy breasts. The woman is beautiful, agrees Julia. I've never seen another face like hers, says Barnabas--"I cannot do it!" he insists, turning away. Because she's beautiful? Julia asks, incredulous. In a world where there's so much ugliness, have I the right to destroy her? he asks. You are destroying Angelique, Julia reminds him, defiance in her voice.  We'll have to find another way, he asserts. There is no other way, says Julia. There must be, he says. Angelique would kill you if she had the choice, Julia reminds him. I know that, says Barn, I will deal with Angelique. How? demands Julia--tell me a way--Barnabas, we've been given this one opportunity--I feel as sorry for this girl as you do. Sorry isn't all that I feel, says Barnabas (oh, no, is this that pesky loin itch again)? What is it, then? she asks. It doesn't matter, he replies. It does, says Julia, because whatever you feel condemns everyone at Collinwood to more of Angelique's plots--they're all in danger, and you're maintaining that danger! I want you to examine that body, says Barn. You haven't been listening to anything I've said, she says, shaking her head in frustration. If we are able to bring her back to life, Angelique will be in that state, says Barnabas--you said yourself that Stokes told you that Angelique exists on the strength of this girl's will to live. Yes, says Julia, I told you that--but I haven't the vaguest idea how he accomplished it. You're a doctor, says Barnabas, if you examine her, surely you'll have some idea. I'm not as confident as you are that we even have the time for all this delay--if I could take her to a hospital and make tests, it would be different. You can come here any time you like, he says--tell him you're here to help him. Hoffman is a housekeeper, she says--Stokes would laugh at me. "I am determined to bring this girl back to life!" insists Barnabas. In the past, says Julia, I always thought you knew what was best, this time, you are wrong; as we delay, whatever happens at Collinwood is YOUR responsibility. (Go, Julia!)
I will see that nothing happens at Collinwood, he vows--now begin the examination. Reluctantly, Julia takes the unconscious woman's pulse.

Collinwood drawing room - Stokes pours himself another martini. Roger and Angelique are also there. Stokes remarks to a grumpy-looking Roger, it must be a shock to be having drinks with me again in this room. Not at all, says Roger. That's what I like about the Collinses, says Stokes, they have more manners than sense--they believe in their manners even if no one else does.  "Father," says Angelique warningly. Don't be nervous, says Stokes, I'm not going to launch into one of my tirades; I noticed Roger was a little uneasy, thought I'd admit to being the reason. Roger denies Stokes is the reason--I've had rather a shock today--Cyrus made me executor of his estate--I would have thought Cyrus would have chosen Quentin. Pointedly, Stokes says, Quentin doesn't need the percentage that executors get. "Neither do I, Mr. Stokes," says Roger angrily, "if you'll excuse me--good night."  He exits in a huff. What fools they are, says Stokes, I always admitted when I need money--he and Elizabeth Stoddard are living in a dream world. Angelique glares at him and says, there'll be no dream world left soon, Father, for any of them! Putting down his drink, Stokes says, I suddenly discover I've had quite a lot to drink--what did you mean by that? They'll find themselves in a world like they've never known before, she vows, a cruel expression on her face--every one of them, except for my son, of course--all the adulation they've received, simply because they're Collinses--there will be no more of that. What do you intend to do? he asks. Nothing, Father, she says, sipping her martini, nothing. You're going to make someone else do the dirty work, he says pensively--tell me everything. There's nothing to tell, she says, nothing at all--I'll simply be an innocent bystander who can't believe all the evil that surrounds her.

Back at Stokes' house, Julia reports to Barnabas, the girl's heart is barely beating; her pulse is the lowest it could possibly be--if this were a normal case, I'd say she only had a few minutes to live--and if she does live, there will be permanent brain damage. She's not a normal case, says Barnabas. No, agrees Julia, how did he ever do it?  I know that her mind sleeps as the rest of her does, says Barnabas, taking the girl's hand, and when she wakes, she will be the same as she was before Stokes did what¢â‚¬¦"Julia, her fingers moved!" Julia doesn't believe it.  They did! he says exultantly, her hand moved! Hold it tighter, says Julia.  Barnabas does, squeezing it. The girl's eyes flutter open.

Collinwood - Angelique triumphantly tells her father, you will be the audience, just as I will. She suddenly feels faint. What's wrong? her father asks.  "Father, the body!" she cries, starting to slip to the floor. Nothing could be wrong, he says--before I left the house, I administered the serum--unless someone is in that room! He runs off, leaving Angelique trying not to pass out. She holds into a table, sits in a chair, leans her head on the back.

The young woman stares straight ahead. Barnabas leans in close and asks, "Can you see me?  I can't tell, Julia."  Keep trying, she urges. Your hand moved, he says to the young woman--if you can hear me, move it again. She can't hear, says Julia. Speak to us, begs Barnabas, tell us who you are. . .speak to us--you must speak--I need to hear your voice--try--try for my sake--try! Julia stands nearby, watching and listening closely. They hear Stokes enter the house. "Something's happened to Angelique!" says Julia--"He's back!"

Barnabas, go! orders Julia, standing by the girl's head. And leave you? he asks. You must! She insists--GO!  Barnabas disappears. Stokes bursts into the room. Thank God it's you, says Julia. What are you doing here? he asks.  I was afraid, says Julia--the girl's hand moved, and I was about to call you at Collinwood. You haven't answered my question, says Stokes. Isn't it curious how a situation like this puts us all so on edge? comments Julia. Why did you come here? he says, a steely edge in his voice. A premonition, says Julia. You? he asks. I was on my way back to Collinwood when I had a feeling that something had happened to Angelique--I came here, I had the key, Angelique had given it to me,
I thought there was something I might be able to do--are we going to begin doubting each other--when we SHOULD be friends? asks Julia craftily, noting the doubt in his face. So the hand moved, says Stokes. Yes, says Julia, and the eyes started to open. They're closed now, notes Stokes. Yes, agrees Julia, whatever happened has passed. I'll just call Angelique, says Stokes urgently, make sure she's all right. Julia nods.  After Stokes goes, she takes a deep breath of relief and gulps.

Collinwood - Angelique, on the phone, assures her stepfather, I'm all right again, thank you, but you must perfect what you've started, because I intend on doing here what I must!  She hears a door slam and hurriedly hangs up.  Maggie enters. Angelique asks, more a statement than a question, "Quentin hasn't come back."--I'm sorry, I don't mean to be rude, but you were looking for him, weren't you?  Seeming lost, Maggie says, I can't sleep--I think I read once, or perhaps someone told me that a couple should make up before going to bed. Oh, says Roger cattily  from the doorway, then I'm afraid you'll have to stay awake for quite some time, won't you? Angelique chides him--I can't imagine what you can possibly know about this, Roger! Maggie looks away, annoyed. It's all too obvious, says Roger. I won't have you picking on Maggie, insists Angelique. Alexis, please, protests Maggie. I'm picking on no one, insists Roger--just helping myself to some of Quentin's excellent brandy--do you mind?  Let's go up to your room, Maggie, suggests Angelique.  I prefer to stay here and wait for my husband, says Maggie. Maggie! exclaims Ang. Please, Alexis, says Maggie calmly, still gazing at Roger.  Angelique leaves. Roger asks Maggie, do you want to join me?  No thank you, she replies. No weaknesses, eh? he asks sarcastically. Oh, Roger, I have many weaknesses, Maggie assures him. He looks at her, bemused, and asks, "Where did he go tonight?" That's none of your business, Maggie shoots back, furious.
Oh, but everything that happens here is my business, he says--you see, I keep track, I do, really, now why don't you tell me before one of the servants does--"What have you done this time?"  Maggie attacks: "You leave me alone--get out of this house, this house is as much mine as it is yours--get out of here and leave me alone!"  Your house?--I wonder, counters Roger--and for how long?  He leaves her alone in the drawing room.

Bruno sits at the piano in his cottage, playing his one-hit wonder, Angelique's Theme. Angelique enters quietly, watching him play, smiling. He stops. You didn't have to stop, she says. You enter rooms the way Angelique used to, says Bruno--one moment I'd be alone... And the next, she'd be by your side, finishes Angelique, opening the sheet music sitting on top of the piano--you liked having her by your side, didn't you, Bruno? He rises from the piano--I was just thinking of her as I was playing the song, he says--how could Quentin murder her? Angelique thinks this one over, not answering.  Bruno continues, asking, what did the police say when you brought that curious diary of Cyrus' to them?--two idols destroyed, he laughs mockingly--the eminent Dr. Longworth leaves proof that he falsified Angelique's autopsy to save his friend, the illustrious Quentin Collins--when are the police going to come over and arrest him for her murder? Angelique grins enigmatically.  "You did go to the police, didn't you?" he asks.  I paid you five thousand dollars for the journal, she says, and it's mine to do anything I want with it. He sternly asks, do you want your sister's murderer punished?--the journal says Quentin did it--Cyrus saw the hatpin in the base of her skull... Yes, agrees Angelique, but there's no proof Quentin put it there--Cyrus only assumed that he did--well, they don't hang criminals on supposition--I want more proof before I go to the police--absolute proof. You aren't going to go to the police, are you? he demands angrily. No, she says. "You MUST!--You MUST!" he shouts through gritted teeth, grabbing her by the arms. His face trembles with the force of his insistence.

Angelique wrestles herself out of Bruno's grasp--don't ever touch me again, she warns--do you understand me?--"I am in charge, you sold me the right to be--now go over there to get yourself a drink to calm your rather tattered nerves!"  He gazes at her for one ugly moment, then does as he was told. Your trouble is that you're bored, she says--and much too young to be so--do you know that?--imagine, the great Bruno Hess, spending the evening playing a melody you wrote for a woman who died six months ago. What else is there for me to do? he demands. More than you see, she says. Yeah, he says, ever since Angelique died, no one around here wants to see me. Such an innocent child, she chuckles, fixing her hair--why only this afternoon I heard someone say how attractive you where, how she couldn't understand why you made yourself so unavailable. She sticks her thumb in her mouth. Who? he asks. This woman needs someone, Bruno, she says, someone very understanding--she needs you far more than Angelique ever did. Who are you talking about? he asks. Someone at the main house, says Ang, someone who is much more innocent than she seems. Maggie? he asks. Angelique laughs, an ill-boding sound, and says, she fooled you too, did she?--oh, Bruno, what is it that makes you so irresistible to Quentin's wives? I don't know, he says, I guess we have the same taste in women, that's all.  He takes a sip of his drink as Angelique looks at him, smiling, thinking, what a vain fool he is.

9:10 - Collinwood - Maggie pours a stiff brandy for Bruno, saying, in a rather come-hither voice, I don't mind at all that you stopped by--as a matter of fact, I rather enjoy your company--I'm beginning to think lately, I spend far too much time alone. She hands him the snifter.  He says WE will have to see that you get out more often--you know that your husband wouldn't appreciate my being here."  Quentin is not here," points out Maggie.  Then he doesn't have to know, does he? asks Bruno playfully. I heard one of your recordings today--you play brilliantly, says Maggie. Thank you, he says, putting down his drink--it's just one my many talents. You're a self-confident man, notes Maggie. Do you mind that? he asks. No, not at all, she says, I think I rather envy it--I've never had much confidence.  All you have to do is do something well, just once, says Bruno, then you'll know nothing's really very hard. Roger passes by the open drawing room doors and stops to listen. Maggie smiles--you may be right, she says, but then I have no talent. Not even for loving? he asks. She turns to look at him. Oh yes you do, says Bruno, I can see it in your eyes--you not only have a talent, but a need for someone who appreciates it.  He moves in for a kiss. Bruno, says Maggie warningly, pulling away.  "Someone's here!" she realizes, pulling open the doors to see Roger standing there, calling, "Quentin!"  Aren't you lucky? says Roger, grinning superciliously, "It's not Quentin at all--only me--only me."  He walks upstairs, laughing. Go after him and tell him what happened, Maggie begs Bruno.  Who cares what he thinks? Scoffs Bruno.  He again tries to take her in his arms; again she pulls away, screaming, "No!"  She clings to the mantle.

Cottage - Angelique tries to soothe Bruno's ego--you had too much to drink, and frightened Maggie, she says--after all, I never said Maggie couldn't be frightened--she was probably reacting to Roger, he would dearly love to tell Quentin what he saw--just calm down. Quentin Collins! Bruno complains, angrily banging his fist--why does everyone live in fear of him? Angelique, arms crossed, says, for good reason--he has the money and power. Not for very long, says Bruno--I found the journal, so I'm going to call the police. No, you can't, she insists. Don't you try to stop me, he warns. It won't do any good now, she says. No?--You just wait and see, he says. She goes after him--I won't let you, she threatens. They grapple.  Get out of here, he orders, tossing her into a chair. He picks up the phone and dials O--"Operator, get me the police--now.
Angelique suddenly grins with pleasure. Bruno says, "Hello? I want to report a murder!"

NOTES: We learn from the credits, if not the storyline, that Barnabas' latest crush is named Roxanne. The pretty young redhead (asleep, as in Sleeping Beauty) has once again made Barnabas' loins throb, and what a misery for poor Julia. If it's not Josette, it's some other SYT, and this one has red hair and looks like she could be Julia (and Barnabas', for that matter) daughter. You can understand Julia's incredulousness over his decision not to kill her, not only because it will harm all their plans, but because he wants to spare her because she's beautiful.  I was glad that Julia pointed out that whatever goes wrong at Collinwood thanks to his decision is on HIS head. This makes Barnabas look incredibly shallow, and is neither his nor the writers' best moment. I maintain that because the series was being penned by an all-male group at this point, the writers were simply doing for Barnabas what they wanted for themselves--a young, pretty chick on his arm. For shame!

Weird that they actually made Maggie seem as if she DID want Bruno when he came over after Angelique planted the idea in his mind that Quentin's second wife would desire him the same way his first one did. Maggie never seemed terribly thrilled with Bruno, but I guess she is feeling lonely and vulnerable and was glad for the company, dubious as it was.

Roger had to be listening at the door, of course, and he was one again deliciously bitchy in his treatment of Maggie. I was glad she finally gave him a sharp tongue-lashing, but wished it had cut deeper, as Roger was being such an SOB.

Angelique was smiling happily when Bruno was on the phone with the cops, even though it seemed she was trying hard to stop him from making the call. She apparently wanted him to think she didn't want him contacting the police, but he played right into her hands by doing so, absolving her of any involvement. What will happen next?

Once again, Julia launched herself into the frying pan by facing Stokes alone. What that gal won't do for her man! Good thing she was able to convince him she was there for Angelique's benefit, and one senses her claim that she had a premonition about Angelique isn't a first-time occurrence, and Stokes knows it. Her sigh of relief at the end was wonderful; I found myself doing the same thing. Great tightrope walking, Julia!

Love, Robin

141
Current Talk '03 II / Re:Dark Shadows first to view Reality TV
« on: July 25, 2003, 09:55:51 AM »
Well done, Birdie, and thanks for giving me a good laugh on this humid Friday morning.

It's always good to laugh!

Love, Robin

142
1036 - As Hoffman, her eyes burning with eagerness, prepares to stake Barnabas, she is struck on the head by our very own RT Julia,
and sinks to the floor. Julia gazes at Barnabas in his vampire sleep and murmurs his name with love. His eyes flutter, but he has no idea how close he came to being permanently destroyed, and how much he owes to Julia.

6:00 - Collinwood - Will stands on the landing, wondering, where did Hoffman go--it's dawn, Barnabas is alone, suppose she went there?  He hurries downstairs, running into Angelique as she's entering Collinwood. Where is Quentin? she asks.  Sleeping, answers Will.  Is it true, she asks, that Cyrus was the one who "took Maggie away"?  Yes, says a distracted Will, who again tries to leave. Where are you going? she asks. My house, he says nervously. Can't you stay long enough to tell me what happened? she asks. Quentin or Mrs. Stoddard can explain it to you, says Will.  Did this Yaeger say anything or explain why he did it before he was killed? she asks. (concerned she might have been implicated)  Will, anxious to leave, says, I don't know. Have you seen Hoffman? she asks--she can explain it to me. No, says Will, I haven't, I've been looking all over for her, and if I find her, I'll tell her you were looking for her. He finally takes his leave, a total wreck.

Loomis House - Julia closes the secret room. When someone knocks at the door, she starts to go upstairs, but instead stands uncertainly in the middle of the living room. Bruno (where have you been?) barges in--what are you doing here? he asks. She gulps and says, I came here on an errand. There's something different about you, observes Bruno--the hair, and I've never seen you dressed like this before. (She's wearing that hideous green tweed outfit.) I was on my way to town, she hedges--is there anything wrong with that?  Where's Will? he rudely asks--twice. Upstairs sleeping, I guess, replies Julia. I've got to see him, insists Bruno.  Has something  happened? she asks. I want to borrow some money, says Bruno. He might not be up for hours, says Julia, why not come back later? I'm getting out of this place, says Bruno, and I want to get an early start--it's beginning to get on my nerves, being in that stupid cottage of mine, all by myself--how about you, he asks "Hoffman"?--You've got a lot stacked away, couple of hundred--how about five? I don't have anything, says Julia. Come on, that's a laugh, he says--after all Angelique and I and others have slipped you for your "cooperation." I'm sorry, I don't have anything, she repeats. I thought we were friends! he says. We are, she replies. Sure, he says sarcastically--look, if you see Will, tell him I'm looking for him, but don't tell him why. All right, she says diffidently.  You don't sound like yourself, or quite look like yourself, notes Bruno--strange. I assure you, I am who I am, says Julia (me and Popeye). Sure, he says, something's different...maybe it's because we haven't run into each other for such a long time.
That must be it, agrees Julia. Don't forget to tell Will I'm looking for him, says Bruno, and leaves. Julia sighs with relief, closing her eyes a moment. She opens the secret room door and checks on Hoffman. She's dead! realizes Julia--I didn't want to kill her, I just wanted to stop her--oh, God, what am I going to do? Will returns and immediately realizes the shelf is ajar. Julia stands inside, looking from the coffin to Hoffman's corpse. She exits to find Will standing in the drawing room, holding a gun on her.

Will smiles and calls her Hoffman--when I looked for you at Collinwood and couldn't find you, this is where I figured you'd be. I can explain, she assures him. No need to, he says. I'm not Hoffman, says Julia, I'm a friend of Barnabas'. I know whose friend you are, he says warningly. Please, she begs, moving back toward the shelf. Don't move or I'll shoot! he says. Hoffman is in there, look there, please, Julia says--she's dead. He goes in to look. Stunned, he asks, "How?"  I know you won't be able to understand it, but I come from a different time than you.  Julia! exclaims Will--you're Dr. Julia Hoffman! You know me? she asks. You're the woman who is trying to find a cure for Barnabas in his own time! says Will. How do you know? she asks. Barnabas told me, says Will--I was writing a book about him, for a little while--but how did you get here? The same way Barnabas did, she explains--by the time warp in Angelique's room--Barnabas told me his coffin was here, and when I arrived...  Hoffman was here? guesses Will. Yes, with a hammer and stake, says Julia, gazing down at the body--and the coffin was open--I didn't mean to kill her. Pardon me if I'm not sorry, eh? says Will. But if I lived in this time, this would have been me, laments Julia--"I don't understand it, but it feels very strange--her name was Hoffman, too--Julia Hoffman."

Back at Collinwood, we see Barnabas' portrait and Angelique in the same shot. She's on the phone with her father--is Hoffman is there?...have you seen her?...I mean this morning--I've looked through the entire house and I can't find her. It frightens me--she called me last night in Bangor and said she thought she might have discovered something, possibly about Barnabas, and now that I can't find her, I thought that perhaps Barnabas...  Bruno enters and she quickly terminates the conversation. Coldly, she says, you still haven't lost your habit of entering without knocking. Only because the people in this house haven't gotten out of the habit of telling me I can't come in, retorts Bruno--where's Will?  He was here, but he left, she says, I don't know where--Quentin is sleeping. THIS late--Quentin? asks Bruno. After what happened last night, I wouldn't be surprised, she says. What happened last night? asks Bruno. You mean you live here on the grounds and don't even know? she asks. There's a little communications problem between this house and mine, he reminds her. They found Maggie, she says--apparently Cyrus Longworth abducted her. Cyrus? chuckles Bruno--the mouse with the MD?--do you really expect me to believe that?  It wasn't Cyrus, she says, but a man named John Yaeger. And Cyrus helped him drag Maggie out of this house? he asks in disbelief. It's a little more complicated, but I can't explain it to you now, she says--actually, Cyrus and Yaeger were the same person. Sure, says Bruno sarcastically, thanks for the clarification. It had something to do with an experiment he was conducting, she says. This captures Bruno's attention--an experiment? Did you know about it? she says. Possibly, without knowing it, he says--I was working on something with him, about two months ago--where is Cyrus now, in jail?  No, dead, she says, and so is Sabrina--he killed her. This stuns Bruno--both of them, gone. Yes, I'm afraid so, she says. A shame, says Bruno, smiling, what a terrible shame--he dashes out, not answering when she asks if he's seen Hoffman.

Will pushes the shelf closed. I'm not sure what I'm going to do, says Julia--it isn't safe for me to be here, but I hate to leave him. I think I understand, says Will. Her voice deliberately formal, she says, as a doctor, I've been interested in Barnabas for a long time. (and as a man, almost equally as long.)  Of course, says Will. (He already knows how she feels about Barnabas, just from that brief conversation, and it's very sweet how he lets it go at that.)  I don't know what I can do to protect him here, says Julia. An idea hits her--"Hoffman," she says. What about her? asks Will. She's been very close with Angelique, says Julia (uh, oh, has Julia inadvertently let the kitty out of the bag?) Alexis is what we call her here, corrects Will with a grin.  (phew!)  Hoffman might have told Alexis Barnabas' secret before she came here, suggests Julia. This upsets Will, who puts his hand to his face in dismay--no, it's all right, Alexis was in Bangor--oh, she might have phoned, but just now, she didn't act strangely when I saw her. What are we going to do? asks Julia. I don't know, answers Will. She might have, worries Julia, what can we do--what if she wrote a note? She might have, agrees Will.  Can you go search her room and find a note? asks Julia.  No, says Will. Can you talk to her? asks Julia anxiously--you could tell by the way she spoke if something was going on or not. I cannot search her room, protests Will--if she finds me there...  Yes, says Julia, you're the only one who could protect Barnabas--suppose I pass as Hoffman?
You as Hoffman? asks Will--no, you couldn't do it, she'd know you at a glance. I fooled Bruno, says Julia--I'll change into Hoffman's clothes, fix my hair, you tell me everything you know about Alexis and Hoffman, and everything about that house. It's too risky, insists Will. I'll have to take that risk, says Julia determinedly. Will just looks at her.

Bruno, in Cyrus' lab, takes down the map covering the safe and muses to himself, there's money in there, plenty of it, I've seen it!--and the combination is here, someplace. He looks through the desk, requesting aloud, "Cyrus, one last payment for past services rendered." He continues to search.

Collinwood - Julia, now dressed and coifed as Hoffman, enters Hoffman's bedroom and turns on the light. She begins to look through drawers.  Not finding what she's searching for, she turns on other lamps, searches the desk, finds nothing. Angelique enters the room, and says, well, I knew we'd meet, sooner or later(!)?

Well? says Angelique, what are you waiting for--I've been dying of curiosity ever since you called--what happened? Julia hesitates, then says, carefully feeling her way--I told you, over the phone, about Cyrus and Yaeger.  That fool! rants Angelique, I should never have included him in my plans about Maggie--but I must admit a grudging admiration--timid Dr. Longworth had a lot more going on than I ever suspected--but I don't want to hear about him--you said you had some important information, what is it?  Nothing specific, says Julia, walking away from her. What do you mean?--you told me you found out something specific about Barnabas, says Ang. Not exactly, says Julia.  Hoffman, you know something and you're going to tell me what it is, insists Angelique--did you follow him the whole time I was gone, as I instructed you to do?  Yes, I did, says Hoffman, I never let him out of my sight--I guess that's what I meant on the phone
--Barnabas was the first person to find out about Yaeger and Maggie, Cyrus called him--Yaeger changed to Cyrus, then he telephoned Barnabas; Barnabas went out to the farm and I started to   follow him there, but I couldn't go in, I had to conceal myself, it wasn't safe. Where is Barnabas now? queries Ang. He went into town, says Julia, I started to follow him and thought I should come here and report to you. Angelique: You mean we don't know anymore about Barnabas than we did before? No, says Julia, I guess we don't. What are you waiting for? demands an irritated Angelique--start following him again--let me know if you hear anything at all! Yes, yes, I will, says Julia. I'll try to help here, says Ang, but we've got to keep in touch with each other this time. Yes, let's, agrees Julia, breathing deeply with relief. Well, go, orders Angelique.

Finding no money in the safe, Bruno is pissed--I know he kept a lot here, thousands--I've found nothing but a book--why aren't you money? he shouts. There is a note on the notebook, instructing, in the event of Cyrus' death, it's to be turned over, unread, to my good friend, Quentin. Bruno being Bruno, he sit down to read the contents.

Loomis House - Julia twists a handkerchief in nervous fingers and tells Will, I believe Angelique didn't suspect anything.  You're shaking, observes Will, and helps her to sit down. I'm all right, she assures. What about Barnabas? asks Will. Hoffman didn't tell her anything, says Julia--Alexis and Hoffman knew Yaeger had Maggie--Alexis said it was part of her plan for Maggie. What plan? asks Will--did she tell you what they were? No, explains Julia, I couldn't ask because I felt Hoffman would know. Good job, praises Will--would you like to change your clothes now? No, says Julia, I'll wear these--she thought I was Hoffman, and so did Bruno--if I go on being Hoffman...  You got away with it for a few minutes, says Will, you couldn't continue. It's worth a try, insists Julia. You'll slip sooner or later, warns Will.  I'll try my best not to, she assures him--it is the perfect way to find out what Alexis is doing. It's NOT the perfect way! shouts Will--she'll find you out!  All right, accedes Julia, it's not the perfect way, but I've got to try. She twists the handkerchief around and around. How can you do this for Maggie Collins, someone you don't even know? demands Will. "I'm doing it for Barnabas, not for Maggie," says Julia, staring him in the eyes.

Bruno, having finished Cyrus' notebook, is laughing. "Did I say there was no money in that safe?" he chuckles. He kisses the notebook. "There's more than I expected, and I intend to get it ALL!" He laughs some more, picks up the phone and dials, still laughing.

Angelique answers the phone and chastises Bruno for running off in such a hurry earlier--where did you go? I had a very busy afternoon, he says--visiting old friends, gathering information... I know you're trying to tell me something, she says--what is it?  You're very perceptive, aren't you? he asks.  Um-hmmm, she says--now tell me something I don't know. "What would you say if I told you that I know who murdered Angelique?" he asks almost casually. Her face registers shock.

NOTES: Wow, who DID murder Angelique? Was it Cyrus himself, the little mouse? He said she died of a stroke, yet we have learned otherwise. Who wielded the pin that killed Angelique? How much will she pay to learn this information? Bruno, only recently returned after a lengthy absence (one wonders why he didn't just stay away, if he intended to leave Collinsport).

Julia is going through with a very dangerous deception. Can she pull it off? Do you think Will already knows how much she loves Barnabas? He admires her already, I bet. She's so nervous, yet she managed to bungle her way through talks with both Angelique and Bruno. Can she keep it up? The things she does for love!

I guess Will was prepared to shoot Hoffman if he thought she'd learned Barnabas' secret. Interesting. Also interesting is how much he apparently didn't like her. Hoffman was paid off by a great many people over the years, probably helping Angelique with her trysts.  Was money the only thing that exchanged hands?

What in heck did Cyrus write in that notebook? How will it affect the Collinwood citizens?


1037 - Speaking on the phone with Bruno, Angelique orders Bruno, if you know who killed my sister, you should just tell me. Not over the phone, he says--we should meet someplace, just the two of us.  How about my room at Collinwood? she asks. I'll be there within an hour, he promises. I assume you have evidence to prove what you told me, she says--bring it with you. In due time, he assures her, and hangs up.

Collinwood - Maggie walks downstairs. Bruno knocks and enters, remarking, I didn't expect to be greeted by the mistress of the house. Hello, she greets him.  I'm glad to see you're looking well, he says--I heard about your terrible experience. It's over, she says, I'd just as soon forget it. I guess you just never know people as well as you think you do, he remarks--who'd have thought Cyrus Longworth was capable of doing something as cruel as that? Maggie, uncomfortably listening to his crude comments, thanks him for his condolences--I'm very happy you stopped by, she says. (why?)  Quentin enters the foyer and coldly says, Bruno, if that's the reason for your visit, you can leave. Actually, that's not the only purpose of my visit, says Bruno. Tell me what you want and get out, orders Quentin. Bruno smirks--the master of Collinwood is being gracious as ever, he says--I'm here by invitation--your charming sister in law, Alexis--are you going to tell me I can't see her?
No, says Quentin (dressed in the God-awful plaid jacket), you go right ahead, I'm sure she has a valid reason for wanting to see you. I'm sure she does, smiles Bruno, and goes upstairs. Quentin glares after him, slips an arm around Maggie, and leads her into the drawing room. How are you feeling? he asks. Much better, she says--I didn't think I'd be able to get any sleep, even with the sedative, but I did. He kisses her forehead--I'm sorry for reacting as I did to your disappearance, he says, but if I'd been as calm as Barnabas, I'd have realized you hadn't run away. (He's awfully casual about it all.)  It's all over, she assures him--let's forget about it. He gently touches her chin--am I forgiven? he asks. Of course, she says, but not convincingly;  he notices her expression. I do mean it, she says.  I know something is wrong, says Quentin--come on, out with it! Why did you take Alexis to Bangor with you? asks Maggie. She said she had some shopping to do up there, says Quentin. At night? asks Maggie. He smiles--I don't believe it, he says--you're jealous of Alexis!  I am not, insists Maggie, I mean it, I'm not--just curious why you took her with you. And I told you all there is to tell, he says, rubbing her arms--I don't think there's further need to discuss it, do you? No, of course not, she assures him, but still doesn't look as if she means it, not by a long shot.

Alexis' bedroom - You have come empty-handed, notes Angelique.  For the moment, he says. But I told you I wanted to see the proof, she reminds him. I know what you told me, but I didn't think it prudent to reveal my information as yet, he says. Why not? she asks. My information is very valuable, he says, and I thought whoever wanted it would find it of great value. In other words, she says, you want me to pay you for it. Precisely, he says, grinning--you see, I'm nothing but a rather poor, itinerant musician in desperate need of money, and I know how much you want to find out who murdered your sister--or was I wrong about that? Of course you're right about that, she says icily--how much do you want? Taking a puff of his cigarette, he replies, "Five thousand dollars." All right, I agree to the price--tell me who murdered Angelique? she insists. You get nothing until I have the money in my hands, he says, snuffing out his cigarette in an ashtray on her desk. I promise you'll have the money! she says, annoyed. Alexis, you're very sweet, he says, and I'm sure you can be trusted, but I never take the risk to trust--just a quirk I have. I can get the money in about two hours, she says, can you bring the evidence back then? Two hours it is, says Bruno, bows, and leaves--"Until then."  She gazes after him as he goes, then takes a box from her dresser and pulls out what looks like a very expensive, glittering diamond necklace. She smiles.

Maggie sits brooding by the fire. Quentin, on the sofa, reads the newspaper. He glances at her unhappy face and asks, what are you thinking about?  Cyrus, she says. He pats her hand--it won't do any good to talk about that, he says.  (why not?)  No, I'm not reliving the experience, says Maggie, I've just been thinking about the things that have been happening around here lately, not just to me, but everyone, wondering if Cyrus might be responsible for it. Impossible, says Quentin. Think about it--how wrong we were about him, she says. What happened was the result of Cyrus' insane experiment, says Quentin--he only became evil after he became Yaeger. Yaeger and Cyrus were not two different men, she points out--they were one and the same man with two distinctly different personalities--wasn't it possible that as Yaeger, Cyrus could have done these things? Anything's possible, says Quentin, but why?--why would Yaeger want to destroy our lives--what's his motive?  No idea, says Maggie--Cyrus was a very inhibited man, it's possible underneath, he harbored some deep resentment toward us all. I don't buy that, says Quentin--we all know there was something wrong with Cyrus. Angelique enters the house and eavesdrops. Quentin continues--too many things have happened to us recently--if Cyrus had been responsible for all of those things, he wouldn't have had time for anything else. I don't think you want to believe it, opines Maggie--Cyrus was your best friend. We get a clear view of Mike R. Phone as Angelique moves closer to the drawing room doors. I'm willing to believe anything, says Quentin, if there's proof. Proof may be forthcoming, says Maggie--if these incidents continue, I'm obviously wrong, but what if they've ended for good? I guess I'll probably have to admit you are right, my dear, he responds, his hands on her shoulders (and he sounds too damn condescending!) She smiles at him. He kisses her forehead.  Coffee? she suggests. Angelique grins and says to herself, Maggie is wrong--the disturbances have NOT stopped, not by any means, and your husband is going to be more than upset when he finds out who is behind them! She leaves. Maggie and Quentin settle down with their coffee.

Bruno smokes in Alexis' room, awaiting her. When she enters, he praises her promptness--you do have the money? he asks. She hands him an envelope containing five grand--may I see the evidence? She asks--or do I have to wait until you count it?  He hands over the notebook--you she can read, I'll count, he offers. She takes Cyrus' notebook and reads what's on the cover--that it was to be given to only Quentin upon his death. She's expresses puzzlement. It's the private journal of our late and beloved friend, Cyrus Longworth, says Bruno, beginning to count his cash. Do I have to read the whole thing, or is there one particular page...? she asks.  It's folded over at the top, says Bruno.  She finds it and begins to read.
She bites her lip, stunned, and turns to Bruno.  I see you know the name of Angelique's murderer, he says. I can't believe that's true, she says. I hardly think Dr. Longworth would make it up, he says. She turns her head, aghast.  Read it again, suggests Bruno--out loud, I'd enjoy hearing it once again myself. He settles backwards in a chair.  She, obviously upset, reads, "Thursday, October 18th, this confession, Quentin is for your eyes alone, for I have on this night committed a great wrong, as a human being and a doctor. You will never know the agony I have suffered since the seance--you see, Quentin, I know the truth--I know Angelique was murdered tonight, and I know that YOU murdered her!"  Go on, don't stop now, urges Bruno, enjoying her reaction--GO ON!  "When I examined the body, I discovered the hatpin that you'd lodged in the base of her skull--while the lights were out. Everyone at the seance saw you with your hands around her throat when the lights came on again, but only I knew what had really happened. Only moments ago, I signed the death certificate stating that Angelique died of a stroke--you will ask yourself why I chose to do this--I will try to answer for my own actions--I knew that certain events at the seance had hurt you deeply, that you had worked yourself into a rage, a wild, jealous rage, and in that terrible state, you had killed her without knowing what you were doing. You are not an evil man, Quentin, and I knew you deeply loved Angelique. God forgive me for taking it upon myself to be your judge and jury."  She closes the notebook, near tears, and says, I always had suspicions of Quentin, but still find it very hard to believe. You know why he was jealous, don't you? asks Bruno proudly, it was because of me. I don't care why he was jealous, says Angelique, furious--I just want him to suffer for what he did. So do I, agrees Bruno--I take it you're going to the police immediately. Clutching the notebook, she says, I don't know what I'll do--I want to think about it very carefully. You've got no other choice, he says. She drops the notebook in the top drawer of her dresser. I want to do what Angelique would have done, she says--I want to make certain that her spirit is relieved from the agony it has undergone ever since her death--never tell anyone, Bruno, about the journal you just gave me. He rises from the chair--I'll go along with you for a day or two, he agrees--but I warn you, if you haven't acted by then, I will!  You mean you don't have it anymore, she says. Do you think I'd be so stupid as to not photostat a copy of that page for myself? he asks. She glares at him--you don't have to worry, she assures him--I'll make use of that information very soon.  All right, says Bruno, I'll be waiting, but not for very long. He leaves.  Angelique slips a medallion-type necklace off her neck and holds it in her hands, saying to herself, "It won't be too long, Bruno--and you will be very much involved, in fact, I'm ready to take the first step now."  She looks as if her face is going to explode.

In the foyer, Angelique's intent stare makes Quentin ask, why are you looking at me that way?
What did you says? she asks.  You're looking at me as if you're angry at me, he says. No, my mind was somewhere else, she says. Is something troubling you? he asks.  Nothing, she says.  Are you sure? he persists. Yes, she says, sounding pissed.  Spying Maggie standing in the doorway of the drawing room, she distractedly greets her, "Hello-- how are you feeling today?" Much better, thank you, replies Maggie formally.  I'm sorry I wasn't here when you got back, says Ang.  There was nothing you could have done, anyway, says Maggie--excuse me, Quentin, I'm going upstairs to rest a while. OK, he says, squeezing her arm.  She stumbles, then looks behind her at Quentin and Angelique, continuing to watch them as she walks across the landing. She'll be under a strain much longer than she thinks because of this, remarks Angelique. Yes, that's what I'm afraid of, he says. I'll go upstairs, talk to her, says Angelique--perhaps there's something I can do to comfort her a little. You're very kind, he says, I'll be in the study if you want me.  He squeezes her arm, too, and leaves. It's 6:05. Maggie sits on her bed. Angelique knocks and offers some tea to help her relax a little. Thank you very much, says Maggie--you shouldn't have gone to all that trouble. Angelique spots a necklace of Maggie's lying on the dresser and surreptitiously takes it--don't be ridiculous, Maggie--I know you think you're feeling much better, but actually, it will be quite sometime before you get over your ordeal, and I'd like you to feel free to call on me if there's anything I can do to help. Maggie compliments her on her kindness--I'll have some tea. Good, says Ang, and leaves the room with the necklace she stole. Maggie pours cup of tea for herself.

Angelique sits by the fire in the drawing room, Maggie's necklace in her hands. She holds it over the flames and asks, let the power of the flame carry my thoughts to Maggie--and my thoughts will become yours, but I will control everything that you do, and you shall do as I command--you   will not resist, Maggie--you will NOT resist--the spell is beginning, you feel my will, feel the irresistible force of my will...

Maggie, sipping her tea, touches her throat, rises from the chair, opens her bedroom door and exits. Keep walking, Maggie, orders Angelique, you know where to go--and what to do when you get there! Keep walking...

Maggie, in a trance, enters the study. She picks up Angelique's necklace from the desk and leaves the room with it.

That's right, Maggie, encourages Angelique, back to your own room, back to begin your first attempt at witchcraft. She takes the necklace and slips it into her pocket, smiling gleefully. Ang rises and runs into Quentin, who says, I thought you'd still be upstairs. I didn't stay very long with Maggie, she says--she seemed strange. Quentin pours a drink--"Strange?" he repeats.  Yes, is it just my imagination, asks Ang, or has she been cool to me? Why should she be cool to you? he asks. I don't know, she says, but I had the feeling she's been very upset ever since she learned you took me to Bangor with you. I see, he says, she gave you that impression. Yes, I don't know why, says Ang, but she just did. It isn't your imagination, he says, the fact is...  Angelique begins to choke and holds onto her throat. "Oh my God, I'm choking!" she cries--"Help me, Quentin, help me!" She starts to fall; he helps her into a chair. It can't be! she moans, talking really well for a woman choking, "The witch! The witch! Stop her, Quentin, stop her!" He runs out of the room.  Angelique stops pretending she's choking and smiles.
Maggie, upstairs, is viciously twisting Angelique's necklace in her fists.  Quentin enters the room and grabs it away from her. So, he says, furious--Cyrus was the one responsible for everything happening in this house, is that it?--wouldn't it be convenient if I believed everything you meant me to, but I never will, Maggie, because YOU are the witch--you are responsible for everything from the moment you walked into this house!  He leaves Maggie sitting there, stunned, disbelieving, looking as if she's been slapped.

NOTES: I guess Angelique has decided to kill two birds--Quentin and Maggie--with one stone. It's hard to believe she still wants Quentin for herself after learning he murdered her, but it appears that she's really broken them up this time.

Maggie didn't just seem cool to Angelique, but to Quentin, too. I wouldn't have been able to forgive my husband for allowing me to remain in the hands of a kidnapper the way he did, but Maggie isn't made of such stern stuff, I guess.

Bruno was annoying today, but I guess once a blackguard, always a blackguard. You'd have thought Angelique would have already made him rich for services rendered, but he, like Will, seemed to lose his muse and his money without her in his life. Wonder where she got the gorgeous necklace? Was it from one of her many admirers, or a gift from Quentin?

Has Angelique finally succeeded in breaking up the newlyweds? Does anyone especially care? This was a boring ep following the previous days' far more exciting ones. I want to get back to Julia and Barnabas!

Terrible fashion faux pas today, Quentin in his awful orange plaid, Angelique in yet another frightful paisley number.

Love, Robin

143
1034 - Yaeger advances on Liz, warning her, you're next!  She closes and locks the doors on him, trapping him in the drawing room.  He bangs away on them and kneels to pick up the phone, but finds he's yanked it from the wall.  Hoffman comes bounding down the stairs.  Liz breathlessly orders her, call the police--he killed Sabrina--I saw it, get help, get help!  Who's in there? asks Hoffman.  Cyrus' friend, Yaeger, explains Liz--he killed her!  I must get to the lab, Yaeger tells himself--the antidote! He grabs a chair and throws it through the window. Liz tells Hoffman, the phones have been pulled from the wall, then rushes over to lock the front doors so Yaeger can't break into the house. He won't come, Hoffman assures her.  He nearly tried to kill me, says Liz. Hoffman goes to unlock and open the drawing room doors, despite Liz' warning not to.  She might still be alive, suggests Hoffman.  They enter the room. The window is shattered. Liz fears Yaeger may be hiding.  He's gone, Hoffman assures her--the other phone has been disconnected, too. Hoffman kneels and checks on Sabrina--she's dead, she announces.  (we don't see Lisa Richards, just some woman's legs).  I wish Roger or Quentin were here, says Liz.  Hoffman gets practical and says, I'll go call the police from the Old House.  (Loomis House?)  I'm afraid Yaeger might still be on the grounds, says Liz.  I'm sure he's far away now, says Hoffman. Don't go, begs Liz.  Lock the door after I leave, urges Hoffman--get a gun wherever you can find one and keep it--I'll be all right. Hoffman grabs a flashlight.  Liz gazes down sadly at Sabrina--I wonder what she was doing here?--I left her and Yaeger in Cyrus' lab--they were going to work--what could have happened? I don't know, answers Hoffman, and leaves. Liz opens a drawer and finds a gun. She holds it in her hands.

Maggie works hard to free herself from the bonds constricting her hands.

Loomis House - Hoffman, on the phone, describes to the police how John Yaeger, who works for Cyrus, murdered Sabrina--send someone to Collinwood immediately. She thanks the person and hangs up. Realizing no one is here, Hoffman decides to take advantage and check the secret room behind the bookcase--perhaps I can figure out why Barnabas went in there! She figures out how to get in and opens the door--what does this room mean?
She finds a coffin and opens it-- empty--why would he keep a coffin?--Angelique will be pleased to know this, yes!  She exits the secret room and closes the bookcase, but as she approaches the stairs, finds herself face to face with Barnabas, who asks, what are you doing here?--explain yourself, he says, getting into her face. Caught off-guard, she explains, Sabrina has been murdered by John Yaeger--Mrs. Stoddard sent me here. Barnabas races out the door, Hoffman on his heels.

Yaeger returns to Cyrus' lab, turns on the light, takes down the map and opens the safe. He reaches for the antidote--only enough for this one time, he says, and then... The cops knock at the door.  Yaeger quickly drinks down his alibi.

The cops are still knocking.  Cyrus picks up the empty bottle--this is the end, he says, the last of the potion--I must tell them everything!  He slips into his lab coat and opens the door to the policeman, who asks, why did it take so long to open the door?  I was upstairs in my sleeping quarters, says Cyrus, what can I do for you? I'm looking for John Yaeger, says the cop.  He's not in town, says Cyrus.  Yes he is, says the cop, we know that much. I was out of town myself, reveals Cyrus--why are you looking for Yaeger?  Murder, says the cop. Who? asks Cyrus. The victim worked for you, too, says the cop.
"Sabrina?" asks Cyrus, mouth open in disbelief. He staggers away--she was my fiancee, he says. I didn't know that, says the cop, I'm sorry--any reason why he'd do it?--this is important. No idea, says Cyrus--she was so kind to everybody! I thought maybe he'd come back here, says the cop.  Cyrus, near tears, says no. Any idea where he'd go then, doctor?--you were close friends, you worked with him? queries the cop--you're familiar with his habits.  I'm...trying, says Cyrus, taking off his glasses--this has been a dreadful shock. The cop sympathizes, but says, time is the only weapon we have. Cyrus rubs his eyes. You want to see him caught, says the cop. Of course, says Cyrus. Just answer a few questions, says the cop--where did he live? He took rooms at Mrs. Duval's, a rooming house, reveals Cyrus, on Front Street--he wasn't there much--brilliant man, but no one could tie him down--whenever he was in town, he came in and worked for me here as a chemist. And when he wasn't in Collinsport? asked the cop. He moved around a lot, says Cyrus, but I guess this could be called his permanent address. The cop writes it all down.  Officer? asks Cyrus says.  Unable to speak for a few moments, Cyrus finally asks, where did the murder take place?  Collinwood, says the cop. Any idea why they were there? asks Cyrus. Your guess is as good as mine, says the cop; I'll check on Mrs. Duval--I'll leave a man here outside, if he should come back..."I'll call you, of course," responds Cyrus. Be very careful, warns the cop--he's a madman. He turns around, gazing at Cyrus as he leaves. "He was mad," mutters Cyrus, "Sabrina! What have I done to you!?"

A red light sways back and forth over Liz and Barnabas as an ambulance takes Sabrina away. That poor girl--when I think of Cyrus, mourns Liz.  Has anyone informed him? asks Barn. The police are sending someone over there, says Liz, Cyrus is out of town, I don't know where.  They go back into the house as the ambulance pulls away, sirens blaring (why bother, she's dead)?  I can't go into the drawing room, says Liz, trembling--I'll always remember his hands around her throat!  Just talk, it will do you good, insists Barnabas, leading her into the drawing room--she's gone now, there's nothing in this room to be frightened of.  Barnabas lifts the nifty booze cabinet-- why were Yaeger and Sabrina here? he asks. I can't figure that out, says Liz. Barnabas pours her a drink--did you know that Yaeger once threatened Maggie? he asks. No, says Liz.  He hands her a drink--I heard about it in town, he says--Yaeger was very fond of her.  Maybe he came here thinking he'd find her, suggests Liz.  That's a possibility, agrees Barnabas. Are there any others? she asks. Barnabas examines the torn phone wire--he must have ripped it right from her hands, he says--who could Sabrina have been calling?--we must find out somehow, not only because of Sabrina, but Maggie, as well. Barnabas! says Liz. I know it, he says. How can she be? asks Liz. There are many questions about Maggie, says Barnabas, but the one that interests me most is, where is she?  I thought I knew Maggie so well, says Liz, but I can't answer that--the things that happen here are so strange--this house frightens me. I want to take you to the Loomis house, says Barn. The children, protests Liz. Hoffman is here, he reminds her--we must call the police and can't here--perhaps they've got Yaeger, and if they do I have to warn them about Yaeger's feelings toward Maggie--now come--and off they go.

Maggie continues to struggle against her bonds, falling off the cot in her efforts. I must! she orders herself, moving along the floor to the rough stone wall, against which she begins to rub the ropes.

Cyrus paces his lab--I must call someone--before I become Yaeger again, he tells himself. You cannot leave that girl there--she must be found before you feel the pain, because you will, you can't stop turning into him now, you can't!  He leans against the mirror, gazing at his reflection.  It looks like there are two Cyrus'.  I can't call them at Collinwood; Yaeger saw to that!  I can call Barnabas! He picks up the phone and dials.

Barnabas, on the phone at Loomis house, thanks the sheriff and tells Liz, Cyrus is back and has told the police where Yaeger lives--occasionally, at least. Cyrus calls.  Elizabeth and I are so upset Sabrina, Barnabas tells him. Thank you, says Cyrus--but, Barnabas, listen--I know where Maggie is!  Barnabas reveals this to Liz, and they both listen.  Yaeger has her prisoner, reveals Cyrus, but it's very dangerous to go there. "Where does Yaeger have her prisoner?" demands Barnabas. The Wicks farm, says Cyrus. I know where that is, says Liz. She's in the basement, says Cyrus, sick. How do you know all that? demands Barnabas.
Cyrus, realizing he said too much, insists, I can't tell you--"Just go!--go and be very careful, because Yaeger may get there before you--I might not be able to stop him, do you understand--Barnabas, I warned you, and now there's nothing more I can do." Cyrus hangs up. Liz insists on coming along, but Barnabas says, just tell me the quickest way to get there. He grabs his cloak and they leave the house.

Back at the lab, Cyrus tells himself, it's over now--I'll never be able to explain how I knew--it's over! You couldn't resist being Yaeger--how he would laugh at you now--nothing tortured him, nothing, he lied, he killed--YOU thought you could keep him secret, to become him when you wanted to, only now you become him when you don't want...when you hate the idea so much that you could...!  He reaches into the desk and takes out a gun. In a harsh voice, he says, "Goodbye, John Yaeger!"  He holds it to his temple, but at that moment, the transformation pains assail him--he stumbles and drops the gun.

Collinwood - Hoffman expresses disbelief when Liz tells her, Maggie is Yaeger's prisoner--back in the car, says Liz, I started thinking--how did Cyrus know, how long did he know, what is this curious hold Yaeger has over him?--he's obviously terrified of Yaeger, he kept warning Barnabas!  I don't think Mr. Barnabas Collins needs any help, insists Hoffman--he can take care of himself.  He's been gone half an hour, says Liz--why hasn't he come back? Did he tell all this to the police? asks Hoffman. No, says Liz, it all happened so quickly, we didn't think--Cyrus made it seem so urgent. I don't think Yaeger will be there, says Hoffman. Cyrus said he would, says Liz--there's a police car at the gate, I'm going to tell them. Mrs. Stoddard, begins Hoffman, but the other woman is already gone. So much has happened, muses Hoffman--Angelique does not know.

Maggie, free of the bonds on her hands, unties her legs.  She puts her shoe back on, stumbles to the open door and limps to the stairs.  Hearing a noise, she returns to her cell and hides in the closet. Barnabas comes downstairs.  Maggie listens as he opens the door and enters the room. He looks around.
Spotting her brush, he picks it up.  Maggie was here, he tells himself (at least he didn't do anything kinky with it).  Maggie listens as he stands right in front of the closet in which she's hiding, then leaves the room. He'll look upstairs, Maggie thinks to herself--I'll have a chance, once he leaves!  A door opens and closes. Maggie waits, opens the closet and exits. She opens the outside door and pulls it open, thinking herself free, but Yaeger waits for her on the stairs. She cries out when she sees him. "Did you think I forgot about you, darlin'?" he drawls.  In one leap, he grabs her into his arms and holds on tight, uttering something inexplicable in a loud voice.

NOTES: Aw, hell, such bad luck for our Maggie here. If she'd only revealed herself when Barnabas was looking around, she'd be OK, but she was sure it was Yaeger, and now she's in the arms of the beast and in big, big trouble. Let's hope Barnabas is still around and can help her. Otherwise, she's going to be raped and probably murdered right then and there.

Hoffman has seen the coffin, which is a big clue for Angelique. I fear she will add things up and our Barnabas will be in serious trouble, too.

Excellent performances by Pennock again today as both Cyrus and Yaeger. How must the good doctor feel, knowing his alter ego murdered his fiancee? He was all set to put himself AND Yaeger to sleep with that gun, but I guess Yaeger sensed the danger and figured he'd better take  over before his brains were splattered all over the lab.

Kind of annoying to hear Liz bemoaning the fact that neither Quentin nor Roger are around--are the women all supposed to be helpless here? The gals handles things pretty well, but then again, they all deferred to Barnabas when the opportunity arose.

Gotta give credit to Maggie for getting herself untied. She used some ingenuity. Why hasn't she left Quentin permanently, then, if she's so smart? Who knows?


1035 - Maggie struggles in Yaeger's grasp; he gasps out, you could have had it all, but it's too late for both of us!  Barnabas, standing on the stairs, orders, let her go!  Mr. Collins, greets Yaeger, it's been a long time meeting. Yes, a long time, agrees Barnabas, who starts to descend the stairs.
Don't take another step! shouts Yaeger. "Let her go--if you don't," warns Barnabas, "you will never leave this place alive." Yaeger refuses to release Maggie, and says, I'm aware of how much time I have left, but I'm going out in my own way. Yaeger drags Maggie with him, but finally shoves her violently aside, and she falls to the floor. Yaeger, Barnabas in pursuit, runs into another room, grabs his cane and releases the sword. That weapon won't do you any good against me, says Barnabas, so you might as well put it away. Try to take it from me, challenges Yaeger. The two men face each other, each silently daring the other to make a move.  Yaeger finally leaps forward and stabs Barnabas, burying the sword hilt deep in his chest. He's stunned when Barnabas withdraws it--there's no blood or wound!  "What kind of creature are you?" demands Yaeger,  You will never know, promises Barnabas. He tosses the cane aside. He and Yaeger get into it, fiercely battling each other, two strong men trying to prove who is the stronger. Yaeger tries to bash him over the head with a candlestick, but Barnabas applies pressure to his wrist, forcing him to drop it.  He and Yaeger fall to the floor where, Barnabas, straddling Yaeger, strangles the last breath out of him.

Maggie calls to Barnabas and stumbles in.  "He's never going to harm you again," vows Barnabas. Seeing Yaeger sprawled dead on the floor, Maggie screams. They both stare in horror as Yaeger turns back into a more familiar, beloved face. "It's Cyrus!" cries Maggie--"what's happening to him?"  Barnabas leads her out, assuring her, I'll take you to Collinwood. She continues to call out to Cyrus. We get a final glimpse of the dead doctor, who once had such good intentions, lying dead on the floor.

Collinwood - Hoffman comes downstairs, checking her watch.  Carolyn enters and tells Hoffman, I spoke to Quentin; he's chartering a plane which will be here within the hour. The children are upstairs with Liz, says Hoffman--there's been no word from Barnabas yet. Hoffman asks Carolyn--when you called to speak to Mr. Quentin, did you speak to Miss Alexis? No, says Carolyn, only Quentin, he was terribly upset to hear the news. The front door opens; Barnabas helps Maggie in. What's happened? asks Carolyn.  She's been through a terrible ordeal, says Barnabas--I'll take her into the drawing room. Carolyn offers water.  She just needs a rest, says Barnabas. Hoffman watches closely--did you find her in the farmhouse? asks Hoffman. Yes, says Barnabas. And Yaeger was really holding her prisoner? asks Carolyn. Yes, says Barnabas. He settles Maggie on the sofa and kneels beside her, telling the ladies, Yaeger won't hurt her any longer--he's dead. Dead?--how? asks Hoffman. I'll explain everything later, says Barnabas--I must attend to Maggie now. Did you find out why he kidnapped her? persists Hoffman.  Please  get your mistress a blanket, orders Barnabas harshly--Maggie needs rest and to be kept quiet. Hoffman leaves. Maggie, you're back at Collinwood now and quite safe, Barnabas assures her softly.

1:20 AM - Barnabas stokes up the fire in the drawing room. Carolyn is sitting, Hoffman standing. They hear a car.  Moments later, Quentin runs in--where's Maggie? he asks. In here, says Barnabas. Quentin kneels--what happened? he asks Maggie. She can't tell you that, Quentin, she's still in a state of shock, explains Barnabas. What did that man do to her? demands Quentin. He didn't hurt her, says Barnabas (or rape--how does he know for sure?)  Did anyone call a doctor? asks Quentin. Not yet, says Barn. Why not, how long has she been here? Quentin asks. About an hour, says Barnabas. Quentin orders Hoffman, go get Dr. Longworth, right now.  I'm afraid we won't be able to reach Dr. Longworth, says Barnabas tactfully. Get Dr. Forbes, hurry, says Quentin.  Quentin, I must speak to you now, insists Barnabas. I want to stay with Maggie, insists Quentin.  Carolyn will stay, says Barn--what I have to tell you is of the utmost importance. What is it? asks Quentin.  Let' s go into the foyer, suggests Barnabas. I'll stay with Maggie, Carolyn promises Quentin. The men go out into the foyer; Barnabas closes the doors. I'm so  grateful to you, says Quentin--you were quite right, I've been a complete fool (hurray, he admits it!). This is no time for self-recrimination, says Barnabas--many things have to be done and you must attend to them personally. What could be more important than Maggie's well-being? asks Quentin. There was a good reason you couldn't get Dr. Longworth, says Barnabas--he's dead!

How? asks Quentin. The only thing for me to do is take you where he is, says Barnabas, heading for the door. John Yaeger killed Cyrus, guesses Quentin. Yaeger is also dead, says Barnabas. This shocks Quentin--I don't understand, he says--what's going on? So many things are going on even I don't understand, says Barnabas, but you must let me take you to the farmhouse where he is--it's extremely important to both you and Maggie that you come with me. Quentin insists he must stay with Maggie.  The doctor will be here momentarily, Barnabas reminds him--we have no time to lose. Quentin reluctantly goes out the door with his cousin.

2:30 - Carolyn leaves the drawing room, closing the doors behind her.  Hoffman comes out.  The doctor is with Maggie now, says Carolyn, who takes out a large compact and fixes her hair. Why, Hoffman wonders, did Quentin came back to Collinwood alone?--he went to Bangor with Miss  Alexis--did he tell Carolyn why he came home without her? Applying powder to her nose, Carolyn says, he didn't say a word to me.  I find it strange he'd leave Alexis there, says Hoffman. I'm sure Quentin wanted to leave ASAP, says Carolyn--Alexis will probably return tomorrow.  She puts away her compact. Most likely, agrees Hoffman. I don't understand why Quentin left the house with Barnabas about half an hour ago, says Carolyn--I have a feeling there's more to this than meets the eye. What do you mean? asks Hoffman. That Barnabas knows a great deal more   than he's telling any of us, continues Carolyn. Yes, I have that feeling, too, says Hoffman--do you think the doctor will be needing me?--I'd like to go upstairs. I'll come get you if the doctor does need you, says Carolyn. Hoffman thanks her and goes upstairs. Carolyn re-enters the drawing room.

We see Angelique's portrait and hear Hoffman talking.  At first, it appears she's speaking to the portrait, but then we realize Hoffman is on the phone, Mike R. Phone above her head, telling Angelique, all I know is that Maggie is back at Collinwood--I don't know how he got to her, but Yaeger is dead. Yes, I was as shocked as you--yes, Barnabas must have killed him--that's what troubles me--there's no telling how much he knows--yes, I will--you must come back ASAP--I have uncovered something--concerning Barnabas--it may be what we want--yes, I'll tell you as soon as you arrive, hurry, please. We pan in on Angelique's portrait again.

Quentin and Barnabas kneel on either side of the peaceful-looking Cyrus.
How incredible this is, says Quentin, so incredible no one could have imagined it. We didn't, says Barnabas, it was Yaeger I fought to the ground and strangled, then Maggie and I saw his transformation into Cyrus--you can see that he's still wearing Yaeger's clothes. Quentin rises to his feet and sits on the cot, saying, disbelievingly, Cyrus Longworth, my good friend, kidnapped my wife and tried to kill her. Barnabas gently reminds him, it was John Yaeger who did all this; Cyrus must have been terrified at his own duality--it was Cyrus who told him where to find Maggie, told me that I must hurry, because he didn't know how much longer he could keep Yaeger under control--I didn't know what he meant at the time. This was the result of his secret experiment, says Quentin. He tried so desperately to separate the good and evil within himself, says Barnabas. And the evil was the dominant personality, muses Quentin. Now it's all over, says Barnabas. I just don't understand how he could have fooled us so completely, says Quentin-- somebody should have realized Cyrus and Yaeger were never seen together--and then when he changed his will--in case of Cyrus' death or disappearance--"God, why didn't I do something then?"  All these questions can be resolved in due time, says Barnabas, but right now there's an important decision for you to make--the fact is that Dr. Cyrus Longworth, a distinguished doctor and citizen, is dead--and I killed him. You had no choice--he would have killed Maggie, points out Quentin. We understand that, says Barnabas, but what about the authorities when they're notified?--the body of Cyrus they will see only--are you willing to tell them the truth about Cyrus and Yaeger?--Cyrus was your friend, and I'm willing to abide by whatever decision you come to. Quentin kneels beside Cyrus--I suppose I could try to keep his secret, he says, but then I'd be saying that Cyrus himself desired and kidnapped Maggie--and that would put you in danger--no, I think it best to reveal the whole story, as fantastic as it is, and even though it might harm his final memory, I know that if you had to make this decision (he speaks to Cyrus), you'd make the same decision--of that I'm certain, Cyrus--I'm very sorry it all went out of control.  Quentin stands.  He and Barnabas leave the basement.

Hoffman opens the doors to Angelique's room and finds RT Quentin talking to Julia, telling her, I don't understand why you let him stay in this room.  I tried my best to dissuade him, says Julia, but he had made up his mind--he had to go back to that other time because Maggie is in danger. What about Barnabas himself? asks Quentin--doesn't he realize he's in danger?  He says that's a risk he has to take, says Julia. He's pushing his luck, insists Quentin--if those people know anything about vampires, and suspect he is one, he's as good as dead! (Sure, Quentin, let the bat out of the bag.)
I wish there were something we could do to help, says Julia plaintively. They leave the room. Barnabas Collins, a vampire, muses Julia to herself--so that's his great secret. She leaves the room.

4 AM - Hoffman sits in the drawing room reading a book on vampires, which reveals, a vampire is most vulnerable, and can be destroyed by driving a wooden stake through its heart. She smiles, liking that idea, and puts down the book. She overhears Carolyn telling Barnabas how unbelievable it is for anyone to be two people at the same time.  Hoffman rummages in Carolyn's pocketbook and takes out the giant compact the young woman was using earlier. It's all true, says Barnabas, and since you're one of the few people who has had contact with Yaeger, the police will want to question you. I can't see how I can possibly help them, says Carolyn.  You might remember something that will help convince them of the truth, says Barnabas. I'll do whatever I can, of course, vows Carolyn. Hoffman listens to them in the foyer, compact in hand, and opens it, thus proving to herself that Barnabas IS a vampire--he has no reflection.
Barnabas advises Carolyn to stick around in case Quentin needs her help. Will isn't back from Portsmouth yet, says Carolyn, and won't be until mid-morning--that means you will be alone in the house. Hoffman registers this happy fact as Barnabas assures Carolyn, I'll be all right until Will gets back--good night, be bids her, and leaves. He had no reflection in the mirror, says Hoffman to herself--if I needed any confirmation, that was it!  Tight-lipped, she returns Carolyn's compact to her purse, just before the latter comes in to get it. Good night, Carolyn bids Hoffman, and leaves, too (I thought she was staying).

It's 5:30 AM, beddy bye time for Barnabas, who closes himself in his coffin. Hoffman, stake and hammer in hand, determinedly opens the secret bookcase and enters the room. She puts down the weapons and opens the coffin, which creaks noisily. Barnabas lies there, hands on his chest.
She places the stake over his heart and draws back the hammer, raising it up, up, up...

NOTES: Barnabas is really in serious trouble here! Who is going to stop her from destroying him, if, indeed, anyone? Hoffman isn't the type to change her mind, and she would love to present Barnabas' destruction to Angelique as a fait accompli. Oh, Barnabas, is Will going to return in time?

Pretty cool fight scenes, first between Yaeger and Maggie, then between Yaeger and Barnabas. Wasn't it COOL when Yaeger stabbed Barnabas with the sword and nothing happened? I always love when Barnabas plays with his victims that way--and Yaeger died without ever knowing exactly what Barnabas was.

A sad ending for Cyrus, who had noble intentions but unfortunately succumbed to his own urgent need to be someone different than the brilliant, flawed doctor he was. I would imagine that if he'd been able to blend Cyrus with John, there would have been a pretty wonderful fellow created there. I felt Quentin's pain as he gave his friend a heartfelt eulogy of sorts. One does have to wonder, however, how they will convince Collinsport's Finest to accept the story. It looks as if   Barnabas murdered Cyrus Longworth, at least on the surface!

Maggie is safe, and Quentin admitted he's a doofus and now we wonder what will happen to Angelique's scheme to win back Quentin. Will she admit defeat?

I loved watching Hoffman take that big compact and figure out that Barnabas is a vampire (it's a repeat of how our RT Julia discovered the same thing), but I was soooo angry at Quentin for openly discussing Barnabas' vampirism--and Julia for letting him! They know the door swings both ways between PT and RT, so why give someone listening on the other side fodder with which to kill Barnabas?

Tomorrow's DS opening is a must not miss, my friends. I won't spoil you, but I will say it's very, very exciting!

Love, Robin

144
1032 - Irony has always been the cornerstone of Barnabas' life--he wanted to get back to his own time so desperately, and now, when he has managed to succeed in doing so, the timing is all wrong. Poor guy.

Julia steps forward--Barnabas, she asks, what kind of danger is Maggie in?  She's disappeared, he explains, and I believe she's being held by someone, possibly Angelique. I think she's as evil in that time as she is in this, she opines. How do you know that? he asks.  Julia explains--I earlier saw Angelique talking to that other Julia Hoffman--the room changed--she was so cold and cruel, I don't understand how my counterpart can be so different from me. The entire world is different from the one you know, says Barnabas. She touches his arm--we've all been very worried about you, she says--Angelique said she had to find a way to destroy you. That doesn't surprise me, says Barn, she's aware of my suspicions--what else did you hear them say? That it was necessary to discover what your secret is, says Julia. Yes, grins Barnabas--did you hear them say anything about Maggie? No, says Julia, but what difference does that make--you're away from them now. I have no intention of staying away--I must go back to that time, insists Barnabas. Go back? repeats Julia, horrified. Yes, says Barn, I intend to find Maggie and reunite her with Quentin. That's insane! says Julia--there's no way you can return. Yes, the same way I went before, he says. You mean stay in this room until it changes again? she asks.  I have no choice, he says, we know the room does change. I won't let you do it, she insists.
My mind is made up, don't try to change it, counters Barnabas (stubborn SOB). Julia looks at him--all right, she says, I'll go with you. Out of the question, he says--you forget, I have no counterpart in that other time band, you do--there is already a Julia Hoffman in that other band of time--suppose there's a law that says only one can exist in any given band of time--and the presence of two means one must die?  I will take that chance, Barnabas, she says tenderly, knowing I may never see you again. (Oh, Julia!) He looks at her and says, softly, I won't let you take that chance--besides, I was able to get here this time, I'll be able to get back again. IF Angelique doesn't discover your secret and destroy you, she reminds him. Don't worry, he says--I'm well-protected--there's one thing I want you to do for me--get the key to that door and come back up here and lock me in--if there's anyone from this house that should come up here, I don't want them to get trapped in that other time band with me. Are you sure there's no chance you'll change your mind? asks Julia. Positive, he says, now go and get that key. Reluctantly, touching the front of his jacket, she gives him one last reproachful look, and goes. Barnabas stands in the dark, empty room, looking around.

In PT, Angelique and Julia hurriedly enter Angelique's room. You're sure no one knew I was out of the house? asks Julia anxiously. No, says Ang, stop worrying, you weren't gone that long--did Yaeger give you a message for me?  No, says Julia, I gave him the letter from Quentin and he told me I could leave the house--he's a very hostile man. We can endure his hostility as long as he's of use to us, says Ang.  Upset, she spots her diary--which I'd locked in the drawer, on top of the desk--someone has been reading it. I think we can guess who it is, says Julia. Barnabas, guesses Angelique--but if he read it and knows what's in it, why didn't he take it with him? I don't know, says Julia. It doesn't make sense, insists Angelique, this is something he could have used against me. Burn the diary, Julia advises. No, says Ang, it's my only link with the past--I'll hide it somewhere Barnabas will never find it. She hurries off, Hoffman at her heels.

Julia returns to the room to find Barnabas already back in PT. Why can't I get through? she laments despairingly--I've got to help you, find you!

Hoffman catches Barnabas looking in one of the drawers in a table in Angelique's room. Are you looking for something? she asks coolly. As a matter of fact, I am, he says, the last time I was in here, I had a book with me, and I thought I left it here. Did you? she asks. Apparently not, he says, I haven't been able to find it--but it's possible I had it here and SOMEONE took it. Anything is possible, agrees Hoffman--if you'll excuse me...  Why don't you and I agree with each other for once? he suggests, and have a good talk. I don't understand what you're talking about, she says. I think you're fighting a losing battle, he says, you're on the wrong side, Hoffman. That makes no sense, she tells him. One time, I knew a woman who looked remarkably like you, he says--she was a doctor, a kind person and a true friend--one who would never stand by and let an innocent woman like Maggie Collins get hurt (oops, if we cite your early history, Barn, and Julia's machinations with Maggie Evans...)  I have never been anything but considerate to the second Mrs. Collins, insists Hoffman coldly.
You know where she is right now, accuses Barnabas. I haven't the faintest idea, insists Hoffman. Perhaps, he says, but if you do, you are going to tell me.  He locks eyes with her, hypnotizing her. She backs away; he pursues her, but his attempt is foiled when Angelique comes in and says, Hoffman, I need you downstairs right now--you will excuse us, won't you, Mr. Collins? she asks Barnabas, who closes the doors after the two women and resumes his search for the diary.

Maggie lies on the bed in her cell, looking remarkably clean and pretty for a prisoner. (Is there a bathroom in the vicinity?) Yaeger enters.  Maggie lies back, breathing harshly. How are you feeling? he asks.  You've got to let me out of here, says Maggie. You keep saying that, he says, angry, but you keep forgetting the one condition under which I'd let you leave--are you willing to walk out that door with me, and not try to escape? NO! she cries. Well, you see you're not ready to leave, he says--you haven't adopted the proper attitude--now you can say you want to leave, but you'd have to mean it, and you'd have to convince me you mean it.  You've got to let me out of here, cries Maggie--I'm not well, I have a high fever. He feels her forehead.  You're quite right, he says. Anyone would get sick here, she says, it's damp and cold. Don't you worry, he says, patting her head, I'm not going to let anything happen to you--by tomorrow, you'll be completely well. What are you going to do? she asks. Pick up some medicine, restore your health, he promises. You're not a doctor, says Maggie, you don't know what to do. I was an associate of Dr. Longworth, he says, and I still have access to his lab--I know what must be done. Why don't you just let me go? she asks. Where would you go if I let you out? he asks. Back to Collinwood, she replies, sitting up on the cot. Aren't you aware of the rather cold reception you'd get if you went back? he asks. I don't understand, she says. You wrote that letter to your little darling Quentin, telling him goodbye forever, he reminds her. You made me write that! she cries. Quentin will believe it, Yaeger assures her. He knows I wouldn't leave like that, she says. You're wrong, he says, because I have an answer from your darling little Quentin. Where is it? she demands. I have it right here, he says, holding it out to her.  Give it to me, she begs.  You're much too sick to read it, says Yaeger, who opens it himself and reads aloud--"Maggie,"--notice he didn't call you my darling, or dearest? Just tell me what it says! she says. He reads: "I might know where to begin, Maggie, if your behavior at Collinwood had not been so totally incomprehensible to me, you obviously know what you're doing, and what you want, but it has been and still is a mystery to me. I have tried to understand but find that I cannot, you must believe that what you've done is for the best."  Her face filled with misery, Maggie falls back onto the cot, wailing, I don't want to hear anymore!  Yaeger hands her the letter--you she can finish it yourself, he says.  I don't want to read it, says Maggie, and rolls away from him. At least take a look at it, he says. She turns and notes it is Quentin's handwriting.  Quentin's trust in you is not what you expected, says Yaeger triumphantly. Where did you get that letter, who gave it to you? she asks. What difference does it make? he asks--the only difference is that soon you'll forget Quentin ever existed, and then you're going to find a love you never dreamed possible!
--you think about that, Maggie, I'm going to go now, get something to make you better--think about it, Maggie. He leaves the ill, despairing Maggie alone, locking the door behind him.

Maggie rises from the cot and tries the door--I must get out of this place, she tells herself--but how?  If only I felt stronger--no, there might be a way. If I can persuade him to take me out...

Barnabas continues his fruitless search of Angelique's room. This time, Angelique catches him--what are you doing in here? she demands. "Need you ask?" he says. Either tell me what you're doing here or I'll go directly to Quentin, she threatens. Tell me, Angelique, he begins. My name is Alexis, she says, and you will call me that! Tell me, he asks, not using either name, who is the mysterious man who believes he can circumvent death? I haven't the faintest idea what you're talking about, she says.
I'm talking about your diary and you know it, he says--I found it most intriguing. What a vivid imagination you must have, she says, I never kept a diary, and neither did my sister. I might have known you wouldn't answer my question, he says, but that passage in your diary obviously has something to do with the fact that you survived death--and someone else, other than myself, knows your secret--and I intend to find out who that person is.  Barnabas leaves, closing the door behind him. Angelique sits in a chair, fuming.  Hoffman enters--I just saw Barnabas leave, she says . Yes, says Ang, upset--I just caught him going through the room. Hoffman asks, "The diary?"  Yes, says Ang. He didn't find it? asks Hoffman. No, says Angelique. It isn't safe as long as he is in this house, insists Hoffman--and that means that YOU are not safe. I know, says Ang. I feel we should burn the diary, says Hoffman.  I'm inclined to think so too, now, says Ang, but the diary isn't the only thing we will destroy--we will find out what Barnabas' curse is and use that knowledge to destroy him--I don't know how yet, but we will watch him very carefully, follow him, perhaps--sooner or later he'll have to do something to betray his secret to us, then we'll know what to do.

Maggie paces her prison. When Yaeger returns, she hastily sits on the bed. I brought you the medicine, he says, handing her a bottle of pills--I'll get you a glass of water.  He leaves the door open; Maggie looks out. He brings her the water and gives her two pills--an antibiotic, he says--you'll feel fine, he assures her. She swallows the pills with the water. Good, he says, take two more of those in the next four hours. In four hours, she says, we won't be here. I beg your pardon? he says. I've decided to go away with you, she replies. You reached that decision quite suddenly, he says. You told me I should think about it, she says--that's what I did. I also told you, he reminds her, that you had to convince me you wanted to go--I'm afraid you haven't convinced me--you have to do better than that. You can think whatever you like, she says, and you can do whatever you want with me--I'm telling you the truth--I read that letter from Quentin after you left, and I realized how right you were--there's nothing for me at Collinwood, I have no future there--I'm not going to lie to you and tell you I love you, but perhaps in time, I could learn to. (Her voice is more gentle than the strident tone she uses at the beginning of her speech.)   Hopefully, Yaeger says, "I think you really mean that." I do, says Maggie. "All right!" he says gleefully. "We're going to go away! We're going to go to New York, we're going to fly there!"  No, says Maggie, I'll need some time to get clothes... You don't need any, says Yaeger--I've got all the money we're going to need!  Maggie's eyes dart desperately back and forth; she looks as if she's going to explode. Yaeger's going on about the clothes, furs and jewels I'm going to buy you--"and Maggie, you're going to learn to love me!"  Her face contorts--I only said I would try, she reminds him. He puts his hands on her shoulders--that's all I need, he assures her, caressing her hair--I'lll be gone for half an hour. Where are you going? she asks anxiously. I'm going to get us money! he exults, all the money we need.  He locks her in again. A small smile of hope lights her face.

Collinwood - Barnabas comes downstairs, grabs his cloak and leaves the house, closing the door behind him. Angelique and Hoffman exit the kitchen.  Follow Barnabas, Angelique orders her servant--watch and tell me everything he does. Hoffman nods and exits.

Barnabas returns to the Old House and calls to Will, but gets no response. He opens and enters the secret bookcase as Hoffman watches from the window.

NOTES: This isn't good--Barnabas is alone and vulnerable right now--Will gone, Hoffman peeping at his mysterious entrance into a secret place. How long before she knows all? And what will happen to Barnabas then?

Barnabas is certainly brazen about going into Angelique's room and searching. I gather Barnabas returned to PT before Julia could return with the key to the room; it was confusing, wasn't it? That was a nice scene in RT between Barnabas and Julia, and for the first time, you sense he really does care for her. Unfortunately, this lovely impression will be negated all too soon, as we will shortly see.

I know many are of the opinion that Maggie should be trying to convince Yaeger she'll eventually love him if she has any hope of getting out, but between her illness and cluelessness, I suspect she won't be able to do so--the only thing that will REALLY convince him is having sex with him, and I can't imagine her overcoming her revulsion enough to allow that.

Hoffman really is doing heinous things for her mistress here, ferrying letters back and forth, protecting Angelique and her personal items from Barnabas. I do love the interaction between this Angelique and Barnabas here; there's no sexual history in their past, no confusion about feelings --it's pure hatred on both sides, and very enjoyable to watch!

Will Hoffman find Barnabas' coffin and stake him? Stay tuned!


1033 - Barnabas searches in vain for Will--I need you, says Barn--and finally enters the secret room, unaware Hoffman watches from the window.

A secret room, muses Hoffman, what can be inside it? I can't risk finding out now--I'll come back later, when he's out of the house, then maybe I'll know what his secret is. She leaves.
In the secret room, Barnabas realizes, I must find Maggie without Will's help. He holds up his cane, telling himself, when I find out who's holding her, I can use this rather than take the chance of revealing my powers--not even the jaw of the wolf itself is more devastating than this cane when it's in my hands! He leaves the secret room (I thought he was going to bed), and closes the bookcase, then exits the house.

Maggie uses a nail file to try to unlock her prison door. It won't work, she despairs. I can't give up, I've got to keep working until I get it open--hurry, before he comes back soon, please, please let me get this open, please!

Cyrus' lab - Sabrina, looking for her wallet, leads Liz downstairs, calling herself stupid--it was here all the time. Won't you come back to Collinwood for a little supper? Asks Liz.  Sabrina thanks her, but says, no, I'll just go home--thank you for the concert, it was lovely.  Was it? asks Liz--I fear neither of us heard a note. It was hard to concentrate, admits Sabrina.  Don't worry, says Liz--Cyrus should be back in town soon and you'll feel much better. Sabrina smiles wanly, says yes and walks away. Do you miss him a lot? Liz asks.  I try not to think about him when he's out of town, says Sabrina. I don't understand young people anymore; remarks Liz--Maggie leaving Quentin, Cyrus going away the way he does. PLEASE! Pleads Sabrina--it's all right--we should go. John Yaeger stomps down the stairs and greets the two ladies, bidding them both good evening. He calls Liz "Mrs. Stoddard."  Have we met before? she asks.  We haven't been formally introduced, says Yaeger, but who can fail to recognize the legendary beauty of Elizabeth Collins Stoddard? Liz throws a look at Sabrina and says, you're most kind. Sabrina introduces Yaeger to Liz; he forces Sabrina to admit he's a close associate of Dr. Longworth's. How do you do? says Liz.  My pleasure, says Liz. Can you go over some data, if you don't mind? asks Yaeger.  Sabrina, I'll go home, says Liz--if you hear from Maggie, I'll let you know. Please, says Sabrina. Yaeger listens carefully. Liz bids Yaeger good night--Sabrina, I'll let myself out. After Liz leaves, Yaeger asks, what was Mrs. Stoddard doing in the lab?  Sabrina explains to the angry man, we went to a concert, I had left my purse behind. Were you planning to tell her something you shouldn't have? demands Yaeger. You know I wouldn't do that, Cyrus, she says.  He immediately grabs her and reminds her, I told you not to call me that name again. Why won't you let me help you? she cries.  he touches her chin--I am, he says--he opens the safe, takes out money, then opens the closet and asks, have you ever seen the wardrobe of the sartorial John Yaeger--take the clothing and send it to NY, care of General Delivery, tomorrow morning. You're going to New York? she asks. Yes, he says, taking the checkbook--after you have taken this check and sent it to the bank to get a certified check in the name of John Yaeger, and send that the same way. This is your whole account! she objects, studying the check--are you going to New York for good? Only momentarily, he says, but after that, there's a great, big exciting world out there--isn't it a pity Cyrus never knew it?  Don't do it, she says, grabbing his arm. Don't tell me you're going to miss me, too, he says. Uncomfortable, she looks away. He caresses the side of her face--is it the good doctor you're going to miss?--you'll miss me whether I go or stay, Sabrina, because Cyrus isn't coming back--ever!  He rubs her neck, not so sensually.
She closes her eyes in misery. He leaves. She looks at the check, sighing, turns off the lab lights, and leaves, too.

Hoffman hands Liz a cup of tea and asks, will there be anything else? No, replies Liz, sitting down with her tea. Have you seen "Mr. Barnabas" since you came home? Asks Hoffman. No, says Liz, why?  Not important, says Hoffman, but he sometimes comes late in the evening and I like to get him whatever he wants. I doubt very much if he comes tonight--he's out searching for Maggie. Yes, says Hoffman, I heard he's convinced something terrible happened to her--I don't think it very likely. Neither do I, agrees Liz, especially after she sent that note to Mr. Quentin--Mr. Barnabas believes not. Mr. Barnabas is a rather...unusual man, remarks Hoffman. Yes, agrees Liz--when it comes to Mrs. Collins. I don't understand why Mr. Quentin didn't check his background more carefully, says Hoffman--that whole story about Peru...  Liz coldly reminds Hoffman, Mr. Barnabas is a member of the Collins family--that name alone indicates integrity--please remember that. Yes, of course, says Hoffman, and leaves. Liz thinks to herself, Hoffman is right--Barnabas is a little strange--this insistence of his that something's happened to Maggie--for no reason whatsoever--with no proof at all. She puts down her cup and leans back, and says, wherever she is, I hope she's all right. Liz falls asleep, and dreams. She sees a hanging lamp swaying back and forth--Cyrus' lab. We see liquid dripping from a beaker, amidst psychedelic lights. Liz and Sabrina descend the staircase, where the lab has been wrecked. Sabrina picks up a book, rights a stool, picks up the phone, puts it back on the desk. She screams shrilly--lying there, dead, is Maggie, her eyes open in horror. Liz awakens, yelling, "Maggie!" and sits up in the chair. She rises, walks rapidly to the front door. Hoffman exits the kitchen area and asks Liz, did you call?  No, responds Liz, grabbing her coat. You're not going out at this hour? protests Hoffman. Yes, says Liz, and leaves without another word.  She doesn't answer when Hoffman asks where?  She called out Maggie's name thinks Hoffman to herself--but why?

Maggie works on the door lock with that nail file, and actually succeeds in opening the door! She walks upstairs, but Yaeger waits there, out of her view; he grabs her arm with his cane. I hope you're not thinking of leaving, my dear, he taunts.  Maggie, hair wild, stares at him in terror.

Having forced a screaming Maggie back into her cell, Yaeger asks, who would have thought little Maggie Evans was a liar, and hypocrite?  Please, she begs, I'm not feeling well. All the more reason for keeping you out of the night air, he says. I wasn't trying to escape, she assures him. Do you expect me to believe that? he asks. I heard someone upstairs, I thought it was you, she says, and I tried the door and it was open. Oh, he says, bending down to retrieve the nail file from the floor--perhaps this curious little object...?--now that was very careless, he says, pocketing the file. He approaches her, picks up a length of rope. What are you going to do? she sobs. He loops the rope around his hands, pulling it tight--I'm going to cure your restlessness, he promises. He comes at her, pushes her down into a chair. No, don't tie me up! she pleads, I won't run away, I promise--I said I'd go away with you, I meant it! He ties her hands behind her back. You are going away with me, he vows, but I'm just making sure you have nothing to come back to. What do you mean? she asks.
Sabrina, who has followed Yaeger, listens outside the door. Maybe you'll be more receptive, he says, to John Yaeger if there's no Quentin Collins waiting for you at Collinwood!  No! cries Maggie--I don't understand. He tightens the knots, threatening, I'm going to put Quentin in his grave. No! wails Maggie, please, don't hurt Quentin!  He kneels and ties her feet together.  Maggie continues to beg for Quentin's life.

Old House - Liz asks Barnabas, did you find any trace of Maggie?  No, why do you ask? he says. I know you've been searching for her, she says. I wasn't aware you regarded her as missing, says Barn. I didn't until a little while ago, says Liz--I had a terrible dream about Maggie that seemed so real to me--still seems real. Sit down and tell me about it, urges Barn.  (the famous multi-colored afghan is on the sofa).  In my dream, says Liz, I was in Cyrus' lab, with Sabrina--we were just coming in, everything was broken to pieces--we came downstairs; Sabrina saw her first, lying there, everything torn and broken around her. Maggie? asks Barn. Yes, she was dead, says Liz. Cyrus' laboratory? muses Barnabas. Yes, says Liz, that's easily explained--I was in Cyrus' lab earlier this evening, with Sabrina, after the concert we went to--everything was in perfect order then. Cyrus' lab, says Barn again. Perhaps it was meeting that Mr. Yaeger there tonight, continues Liz. This snags Barnabas' attention: "Yaeger?" he says--"You met John Yaeger?" Yes, says Liz, he was a terrible man, made the whole lab seem as if it was filled with something... "Evil?" finishes Barnabas. Yes, she agrees. So, Yaeger is back, Barnabas says. Liz rises from the couch and asks, do you think Yaeger has something to do with Maggie's disappearance?  There's only one way to find out, says Barn. But Maggie doesn't even know him, does she? asks Liz.  I'll take you back to the house, offers Barnabas, tripping over the rug.  What's the connection between Maggie and Yaeger? asks Liz. Barnabas takes his cape and cane and says, I hope to be able to find out very soon. They leave the Old House.

Maggie, now completely tied up, sways in the chair. He decides against gagging her--since no one will hear you if you yell--plants a big kiss on her mouth, then leaves. Maggie is grossed out. Sabrina starts to leave. Yaeger lifts Maggie into his arms and carries her to the bed. He hears a sound outside as Sabrina makes her exit. Behind him, Maggie begs for help, but he finds the check he'd given Sabrina lying on the stairs. What's this? he wonders--the check I made out for Sabrina so she could send money to New York--Sabrina, she followed me--she knows!  He races upstairs.

Cyrus' lab - Barnabas comes downstairs, reflected upside-down through the magnifying mirror. He looks around the lab and finds clothing he knows doesn't belong to Cyrus--but Yaeger! Why here, in Cyrus' lab? There's a connection, and I've got to find out what it is--it could lead me to Maggie!

A car screeches to a halt at Collinwood. Sabrina races madly from foyer to living room, calling for Quentin and Elizabeth. She's dialing the phone when Yaeger puts his hand over her mouth, rips the phone out and drags her into the drawing room, where he quickly rips that phone from the wall, too. He closes the double doors. Why did you do that? she asks.  Because I felt like it, he replies--so, you have an exploratory mind in science--except it leads to some rather dangerous places, doesn't it?  Why did you come here? she asks. Curiously enough, I was going to ask you the same question, he says, advancing on her. I was out driving and I realized Liz wanted to see me, so I stopped by, she says, smiling. Is Elizabeth here now? he asks. Yes, Sabrina says, of course. Who were you making that phone call to? he asks. I was calling your caretaker, she explains, maybe the lab had been left open... Yes, smiles Yaeger, I can see how that might worry you. I guess I'll go see Elizabeth, she says, starting to walk past him. One question, says Yaeger, before you go--were you planning to go to the bank tomorrow and take care of that check? Of course I was, she says. Oh, he says, did you leave it in a nice, safe place. I'm positive I did, she says, checking her pocket surreptitiously--I locked it in the desk drawer in the lab. That's strange, he says--I wonder what THIS is--and he holds out the check--it was left on the stairway to the basement. He begins to laugh. I dropped it! she realizes. I never knew that you were that dumb, Miss Stuart, he says. What are you going to do? she asks. I think you know, he says. Why are you doing what you are to Maggie? she demands, what has she done to you--please, let her go. You don't think I'd do something that foolish, he says--to let someone like that go, who knows what I've done?  What do you mean? she asks, catching his drift only too well. You know precisely what I mean, he says. "You are going to kill me!" she cries. How perceptive of you, he sneers. Cyrus, she begs, there's still time to change back, all you have to do is reconstruct the antidote. Impossible, he says, you know why--because Cyrus is the only one who can do it--do you see any of Cyrus in me? But you could change! she protests. He points to himself violently, and says, there isn't a trace in my body, my soul, no where, there's no Cyrus left! Yes there is, Cyrus! she cries, yes there is!  He begins to strangle her, exclaiming, there is no Cyrus, Cyrus is DEAD! She struggles in his grip as he throttles her, insisting over and over, "Cyrus is dead and you're never going to see him again! Never! Never! Never!"
He drops her limp body to the floor as Liz enters the drawing room.  She gasps, her hands on her face in horror, as she surveys what I assume (despite the fact that Lisa Richards' eyes are fluttering madly) is the dead Sabrina.

NOTES: There is a lot of physical violence on DS these days; Yaeger is a man who likes to abuse, and he especially enjoys abusing women, whether it's strangling them to death (Sabrina) or forcing them to have sex with him (Buffie). It must have been tough on Pennock, KLS and Lisa Richards to have to play out these physically taxing scenes, but they were very effective--of course, the fluttering eyelids on Sabrina make me wonder if she's clearly, sincerely dead. We can only hope.

Poor, hapless Maggie can't seem to get a break. I have to laud her skills at picking that lock, but her timing was bad. Now he's tied her up, so any further hope will have to come in the form of someone else.

I guess Liz and Sabrina were buddies, and one hopes they attended other concerts together, since this was their last. Now that Yaeger has silenced Sabrina, how is he going to shut Liz up? Are we in for another murder?

I thought Barnabas was going beddy-bye when he entered the secret room, but this just seems to have been a ploy to show Hoffman where the room was. There was no need for him to enter the bookcase to talk about his cool his cane was. He could have done that in the drawing room. Then  again, I suppose he was looking for Will in there--but why would Will be hanging out there if it's not time to protect Barnabas?

Well, we have Hoffman on Barnabas' trail, Sabrina dead, Liz in danger as a witness to Yaeger's heinous deed--this is getting really good, isn't it?

Love, Robin

145
Robservations / #1030/1031: Robservations 07/22/03: Papa's Revelation
« on: July 21, 2003, 10:17:47 AM »
1030 - Maggie walks around her dank prison, touching her clothing.  She sits on the bed, then stands and spots the shell Daniel just gave her. She hugs it close. "Daniel!" she moans. Yaeger enters bearing a tray with wine, food, a glass and silverware on it. You should have changed clothes, he says, you're all wet--"My dear."  When he drops a fork, Maggie takes the opportunity to make a run for the door.  Yaeger grabs her, calling her an unwilling guest. He orders her back in, then locks himself in with her. I've brought you some supper, he says--curry, I know how fond you are of it. Do you know everything about me? she asks.  He opens the bottle and says, i took the trouble to learn. You've stolen my things, she accuses.  I didn't steal them, says Yaeger, that's the wrong word--I brought them over. How long have you planned this? she asks. Ever since I met you, he says, taking a drink of what I assume is champagne. It's a bit dry, he complains, but quite presentable--I thought I'd make your change here less traumatic, he adds.  Thunder rolls outside. He pours himself more and says, a few of your own things always add a bit of security. You've got to let me go, she wails. I will, he says, at the proper time. When? she asks. When you and I walk out that door together, he says, when I know you won't escape from me. That day will never come, she vows. I seem to be more confident in my charms than you are, he says--you're going to love me, I promise you that!  You're mad! she accuses. No, in love, he corrects--Maggie, I'm not going to force myself upon you. You have! she cries. Time will change you, he says confidently, time and this room--let's be civilized and sensible, he suggests--let's have some supper. NO! she says. This angers him--Do as you're told! he demands.  They'll be looking for me! she warns. You left the house of your own accord, he reminds her, after a fight with your husband. How do you know that? she asks. I know everything that goes on at Collinwood, he says. Somebody at that house has been telling you, she says.  I'm not a man who needs any help, he assures her. He sets up the chairs around the table and says, we should have some dinner. She pleads with him--let me go--open the door and let me out--you won't get away with this--Cyrus...I was supposed to meet him--he won't find me at Widows' Hill and will go to Collinwood... That's a sad fantasy, says Yaeger--Cyrus isn't going to Collinwood. Why? she asks, you've killed him--he was my friend!  He stood in my way, says Yaeger in a dangerous voice, I had patience with Cyrus, just as I have with you, but when patience wears thin, I'm not responsible for my actions!--yes, I killed Cyrus! You're mad! sobs Maggie--I don't believe he's dead! You won't miss Cyrus as much as you think, he says--he and I have a lot in common-- Cyrus was very honest in his own way, as I am in mine--I'm not doing this to frighten you or make you cry, I'm trying to do this so you'll be realistic about why you're here, and why no one is going to come and find you. Maggie cries helplessly. No, she says, turning away from him. He tries to comfort her, but she pulls away, ordering him, get away from me!  You're going to regret that! he promises, pushing a chair out of the way and again locking her alone in the room. She leans against it in despair.

Collinwood drawing room - Liz asks Angelique, how could Quentin let Maggie run from the house in this storm?  Barnabas tried to stop her, says Ang. Why isn't Quentin out looking for her now? asks Liz. I know, it's very sad, says Ang, smirking out of Liz' sight--I can't understand why they're so unhappy. Can't you? asks Liz. No, says Ang--Maggie does love him so much, she told me that herself. But who does Quentin love? asks Liz--that's the question. Angelique has walked over to the window, where a flash of lightning illuminates Yaeger standing outside. Is he capable of loving anybody now? wonders Liz.  Yaeger and Angelique stare at each other; he gestures her to come out and join him. No use my expecting an answer from you, says Liz, you didn't know Quentin when Angelique was alive. Angelique suddenly tells "Mrs. Collins" (isn't she Stoddard?) I want to go find Maggie, who must be close by--I really want to go. I will go get Roger, volunteers Liz, you shouldn't be out there alone. No, insists Angelique, I trust my instincts, and that will take too long. She goes. I'll find Quentin and talk sense to him, decides Liz--time he stopped acting so immaturely--he'll be out looking for Maggie herself if I have anything to do with it. She heads upstairs.

Gazebo - The two plotters talk. Yaeger complains, Maggie will never love me, it was a mistake, I don't know why I thought I could pull it off--you should see Maggie's eyes when I come near her.  You knew she'd look at you like that! she reminds him, you told me yourself tonight would be very difficult. She has more spirit than I thought she had, he says morosely. And you have less than I thought you had! she sneers--yes, you knew it would be hard, take patience and time.  A lot more than that, says Yaeger. Yes, you're right, it will, she agrees, every tie she has with Collinwood must be broken--she must be made to feel completely alone--that she has no life to go back to at all, because that life doesn't exist anymore
--do you understand? He shakes his head.  You must rob her of all her defenses, she insists, and when she is completely vulnerable, she'll turn to you--because you will be all she has--don't you see?--now this is what you have to do...

Maggie examines her prison for an escape route--there must be a way. . .no windows, if only I knew where I was--where? Where? He left the house, I'm sure of that, this is my chance. She tries the door desperately, but it's locked. What can I do? WHAT?

Yaeger returns to Maggie. He finds her on the bed--are you resting? he asks--is it comfortable enough for you? He closes the door behind him. You've got to let me go! she insists. Oh, Maggie, he says, there are so many things I want to do for you--but unfortunately, you keep asking me the one thing I cannot--there's something I want you to do, he says, putting down paper and pen on the table. I won't do anything! she says. Why won't you wait and hear what it is before you say no? he asks--sit down. When she doesn't, Yaeger shows her the business end of his cane--the sword. She cries out. I think you will, he threatens--NOW SIT DOWN! She sits, staring at the blade. I'm most concerned about your husband, he says--I think a note would be a great comfort to him--you don't want him to worry, do you?--he's such an emotional man!  I won't do it, she says. You don't want to give Quentin peace of mind? he asks.  You can kill me now, she says, but I won't write to him!  I won't kill you, he says, not you, but if you don't write what I say, I'm walking out this door, walking to Collinwood, where your husband's about going to bed, and if he isn't, I'll sit there and wait for him, and you know, Maggie, there's a theory that one knows when a loved one dies--will you feel the pain when this enters his body? He aims the sword directly in front of her. "Will you?" he asks again. No, she sobs. Pick up the pen, Maggie! he demands.  She does. Write, he says--not darling Quentin or dear Quentin, just Quentin, and don't cheat the handwriting--good, now what should we say, something properly incoherent
--"Tonight was the end, I think." No! says Maggie. That's good, I like that, Yaeger praises himself, and continues--it has the proper finality. No! she cries. Do you want me to go to Collinwood--Maggie?--write!--"Don't try to find me, I don't want to see you, ever!" Why do you want me to do this? sobs Maggie. Because I'm forecasting the future, he says, write those words, because every one of them are gong to come true. She looks at him, horrified.

Liz, on the phone with Jennifer, says, I'm sure Maggie will contact you, so please let me know when she does. After hanging up, Liz tells Roger, her sister in New York hasn't heard from her.  Don't read tragedy into that, advises Roger. I'm worried about her, says Liz. Why are you concerning yourself so? asks Roger--the girl was totally out of place here.  You always were unfair to her, says Liz--how can you be so callous?--when she ran out of here, she had no purse, no money...where can she have gone?--she has no other relatives or friends in the village. Quentin should be the concerned one, sniffs Roger, not you. Quentin is terribly concerned, insists Liz. Only he won't admit it, says Roger--really, dear sister, you see exactly what you want to see--what Quentin wants now is to forget he ever met her, so please stop this crusade about trying to get her back into the house, let the house settle down to normal. Angelique comes downstairs and gets the big chill--oh, no, it's starting again, she realizes--I'm so cold, so cold!--I must find someone, I must. Her teeth chatter. Roger is blathering on, telling Liz--unless you keep bringing up Maggie's name, within a month, everyone will have forgotten her. Liz, annoyed, says, the only ones who will forget her are those who didn't acknowledge Maggie when she was here. She turns to walk out.  Angelique comes in--is there any news? she asks. None, answers Liz, and leaves. Angelique, shivering, tells Roger, I went looking for Maggie, thinking she'd be in the gazebo. . .you're not interested, are you? She runs to warm herself by the fire. I'd be lying if I said I were, replies Roger--how extraordinary--you're standing there just as Angelique did. She walks away from the fireplace.  You didn't have to move, Roger assures her. I don't like to think about my sister, she says. I think of nothing else but, he says. I feel so guilty about her, says Angelique--when I came here, I was determined to find out who the murderer was, but now I (she sobs, covers her forehead with her hand) haven't done anything at all--I don't even know why someone would want to murder her. Alexis, croons Roger. I just keep hoping I'll find something, some clue, she says. I think my own life ended the night she died, he says, I hate thinking about that night or the days that came afterward. She puts her hands on his shoulders, almost a caress.  He shivers violently. What is it, Roger? she asks. I got a terrible chill, he replies, but it's gone. I feel it too, she says, a cold--hold me, Roger, she says, leaning against him, hold me. You know, somehow, he says, since you've been back, it's as it was before, looking into your eyes is like looking into hers. "Kiss me," she bids. "Kiss me--please, I'm cold, so cold!" She stares at him hungrily.

"Alexis," Roger murmurs.  I'm so frightened, and I don't know why, help me, please, she says, and draws his face to hers for a kiss.
Liz interrupts--"Alexis!" she says disapprovingly.  Excuse me, says Angelique, and runs out, her arms around her quivering body. Liz gives her brother an angry look.  I feel so very cold, he complains, as thought I'd touched death.

We see a clock, and a colorful zodiac poster on a wall. Angelique has run to her stepfather (who apparently now lives in Hannah's cottage) and tells him everything. I had no idea, he says, sipping a drink. Well, now you know, she says--somewhere out there, someone is finding a body of a man I never even saw before, a man I only met tonight, and his body is so cold, it's as though he's been dead for days--I won't take it any longer--I never know when it's going to happen, and when it does, I must touch someone and take their warmth, or go back to that tomb--you are   responsible for bringing me back--surely there's something you can do about this--there must be, with all the secrets you know...  What I did to bring you back, that's all I can do, he says regretfully, drinking. What exactly did you do? she asks. There's no reason for you to know, he says. There IS! she insists. No! he says. Maybe if you can't help me, I can help myself, she suggests, but you've got to tell me exactly what you did! He thinks this over, but is silent. Why won't you tell me? she demands. Because I am a scientist, he says, you are not. But I'll understand! she says. No, he says, I am far beyond your level of thinking, I'm a most unusual man, the first modern scientist to use the black arts. Yes, she agrees, you're the greatest scientist in the world!  Flattery worked when you were alive, he says, but that was before I did this--you're only an element mixed with another element. WHAT DID YOU DO? she cries. I went back to an experiment I started long ago, one that terrified me, he says, but when I saw you lying dead before me I had a reason to finish it--I was ruthless. How, Father, now? she asks. Don't ask me, he begs. Please, she cries, share it with me, please! I cannot do it alone, he says, that is all I will say. If there was someone else, then perhaps this person knows how to stop this terrible cold, she suggests--yes, take me to whomever it is. Are you sure you want to know? he asks. Yes, she assures him. Do you realize what we've done?--revenge can still come, he warns.
I'll take that chance, says Angelique--take me to this person! He considers it, then points to a green curtain--there, he says, but as she goes eagerly to open it, he says, "Angelique, I did it for you." So, she says, at last I'm to meet the person responsible, who has given me another chance to win Quentin back--come with me, Father. No, he says, looking almost dead himself, you must go alone. Oh, yes, she says, yes, I must. She pulls open the curtain and reaches for the doorknob...

NOTES: Interesting development, Papa Stokes did something so heinous, he actually thinks his murdering daughter will fault him for it--"I did it for you." He really creeped me out here. What could he have done?

You've got to feel sorry for Maggie now, clueless though she might be, except for Elizabeth and Barnabas, she seemingly has no one to care where the hell she is. And with Yaeger forcing her to write a letter closing off her slim tie to her husband, perhaps Angelique's scheme will work after all. Could Maggie come to love Yaeger? I guess we'll find out. Great acting from KLS and Pennock. I think he loves her about as much as he could truly love anyone, or he'd have taken what he's wanted from her by now. Icky! That dungeon he has her locked up in is horrible. She might go mad before she falls in love with Yaeger. I know I would

Roger is so cold, I'm surprised Angelique went to him for her saving warmth. The man is so nasty to Maggie, and only because of his disgusting feelings for Angelique. Listen to what he says very carefully, my friends. I won't say more.

Angelique did her killing off-camera this time, but wasn't it something, thinking she might kill off a main character? Did you get a chill of your own when she asked Roger to kiss her? I sure did!


1031 - Stokes follows his step-daughter into a room in which lies a sheet-draped body. One candle illuminates the scene. He lifts the sheet, revealing the woman's face.  Angelique, he says, the life force that flows through your body once belonged to her. Is she dead? asks Angelique. More alive than you, my dear, says Stokes, that's why she's constantly calling her life force back to her own body. And that's why I feel that terrible cold, says Angelique. I can think of no other reason, says Stokes. Must it be this way? she asks. I don't know how to change it, he admits--unless, of course... What? asks Ang.  If the body were destroyed, he says, then the life force would die and both of you with it. This horrifies his stepdaughter --why is she here? she asks-- someone could find her here! I've taken precautions, Stokes assures her. What kind of precautions? she demands. (and didn't Hannah have knowledge of it, given that she lived in this cottage?)  Haven't you learned enough secrets for one day? he asks. No I haven't, she insists. I know how you hate to be dependent on anyone but yourself, he says, but in this case, you'll have to trust me--after all, I granted your fondest wish, and gave you complete control over Quentin Collins--you owe your dear father a debt of gratitude--am I right? Yes of course, she agrees, but doesn't look like she means it. I was sure we'd be in absolute agreement, he says. Angelique looks totally pissed.

Collinwood, drawing room - Barnabas has just read the note Yaeger forced Maggie to write. Are you convinced now she left of her own free will? asks Quentin, taking back the note. No, insists Barnabas. Here's the letter, insists Quentin--she wrote it herself.  Isn't it possible, poses Barnabas, that someone could have forced her to write it? Why do you keep insisting, asks Quentin, irritated, despite there being no evidence, that Maggie was kidnapped?  Because, says Barnabas, I don't believe she wanted to leave you!  And who's the better judge of that, you or I? demands Quentin. Patiently, Barnabas says, I firmly believe something's happened to Maggie, and she might be in great danger. You keep saying that, but you don't have a reason for it, says Quentin. How did Maggie leave? asks Barn--is one of the cars missing? This letter, says Quentin, was mailed from Collinsport, so she must have got there, which means she did get there somehow, and she didn't walk, so she must have some way of getting there.
It's possible someone was taking her, but not to the place she wanted to go, says Barnabas. Why do you keep insisting that? demands Quentin--who would have done a thing like that to Maggie. Are you so sure she has no enemies? asks Barn. Who? asks Quentin, name one. Yes, who can it be? asks Angelique, entering the room. She and Barnabas exchange measured looks.  It might have been someone who has been tormenting and frightening her ever since she came back to Collinwood, suggests Barnabas.  I don't understand you, she says, tears in her voice, I know the way you're looking at me now--you think it's me, don't you?--I love Maggie, I have never tried to do anything except help her--I am the...oh, never mind, I'm sorry, you'll have to forgive me, I just don't know what else to say--she flees the room, crying. Quentin reminds Barnabas, you promised not to accuse Alexis of causing trouble between me and Maggie. I accused no one, points out Barnabas. Not directly, says Quentin, but you're implying it, and I'm asking you to stop it! He pours himself a drink.  Someone HAS been tormenting and frightening Maggie, says Barnabas--the voice from the portrait...  There was no voice! says Quentin. What makes you so certain? asks Barnabas. Because, says Quentin, Maggie claimed to have heard it another time, before she left here--I was there and I heard nothing. If someone has the power to communicate with her that way, says Barn, surely they have the power to communicate ONLY with her. I like you and want to be your friend, says Quentin, but I also want to be logical and reasonable about this, and maintain whatever shred of sanity I have left--this discussion is finished. He leaves the room.  Angelique enters, arms crossed--why didn't you tell him everything you know about me? she asks--is it because you knew he would believe you even less?  Where is Maggie? demands Barnabas. I haven't the faintest idea, she replies. Barnabas faces her and vows, I will find Maggie--and when I do, I'll have that much more proof, convince Quentin.  Mr. Collins, she says, I would advise you not to interfere. "You have my solemn promise that I will do more than interfere," he says, "I will not rest until I find that Maggie is safe, and that I have proof to destroy you once and for all."  He leaves her to think about that parting shot.

Angelique's face segues into that of her portrait. I don't know why you pay any attention to what Barnabas Collins said, says Hoffman--Maggie left of her own free will--of course I don't deny we encouraged her departure, but we didn't hurt her--it's not as if we have her hidden away somewhere. Angelique grins.  Why are you smiling? asks Hoffman.  No reason, the other woman replies. Back in RT, Julia opens the double doors and listens to the two women, one of whom it her exact double. You know where she is, don't you? ask Hoffman.  Yes, replies Angelique, I know where she is, and will tell you all about it later--but I'm concerned about Barnabas right now--he's the only one who can ruin all our plans, Barnabas Collins must be destroyed. "Destroyed?" cries RT Julia. "Barnabas, no! No!"

Julia listens as her PT counterpart says, "I know Barnabas Collins must be destroyed, but don't forget, he has some powers." Where do they come from? asks Angelique. I don't know, replies Hoffman, I've tried to find out. Try harder, orders Ang, he has some secret--what is it?
Barnabas, despairs Julia, why can't I get through?--I've got to help you, find you!  Her face is contorted with worry--and love.

I'm sorry for the late hour, Stokes tells Quentin, but I haven't visited Collinwood in such a long time--it's as magnificent as ever. I can't guarantee that Alexis will be happy to see you here, says Quentin--it's no secret you two never got along. She is my daughter, says Stokes, gazing around the room, and I thought it high time we saw each other again. Are you looking for anything in particular? asks Quentin.  No, just admiring everything, says Stokes--I can't tell you how much I enjoyed my visits to Collinwood, when Angelique was alive. I seem to remember your enjoyment, says Quentin coldly, with no trouble whatsoever. Angelique enters. "Well, hello, Father," she says icily. Alexis, my dear, he greets her. I'll leave you alone, says Quentin--I'm sure you have much to talk about after such a long time--if you'll excuse me--he leaves. And what was it you wanted to see me about? she asks coldly. Nothing in particular, he says, just wanted to renew my taste for living, Collinwood style.  So saying, he pours himself a nice big drink of fine booze. Angelique asks, do you really think that's necessary?  He turns and grins--there's no one listening, he says--you can stop pretending now. What makes you think I'm pretending? she asks.  You've always been very fond of me, he reminds her, we get along very well together. And we shall continue to do so? she asks. If I do as I did when you were married to Quentin--am I correct, if I stay away from Collinwood as I did before?  I do think that would be best, she says.  I don't. . .fit in here, am I right? he asks.  I didn't say that, she says, ashamed. It's difficult for the mistress of Collinwood to sustain her grand role with her rather seedy father hanging around, he points out.  I never said that either, she says. You didn't need to, he says--you made it perfectly clear; however, it's time for a change around here--I always admired Collinwood, always felt it suited me better than most people realized. He sips his drink. Father, exactly what are you talking about? she demands. In a little while, you'll be mistress here again, he says, but this time, you'll have complete control over Quentin--no reason why I shouldn't take advantage of my daughter's generosity. Oh, so that's the favor you were talking about earlier, she says. Yes, he nods. Why don't we put off my decision until I AM the mistress of Collinwood? she suggests. No harm in my getting used to it in the meantime, is there? he asks, grinning, and drinking. Furious, she reminds him, you and Alexis didn't get along--I want it to continue to look that way. He pours himself another drink and says, "We were just reconciled."  I don't want to cause suspicion, she insists. I like it here, he says, I intend to come here as often as I like. Do, she says, but I can't guarantee that you'll be welcome. (Ice practically dripping off her tongue with those words.)
I expect to be welcome, say Stokes--very welcome indeed. He drinks, adds more. She leaves. To himself, Stokes thinks, "Vain, impulsive child--couldn't bear not to have her own way--well, my dear, it's about time I began acting like a good father--and taught you a lesson or two!"  He smiles.

4:55 - Quentin comes downstairs. Barnabas enters.  I had hoped I'd get to see you again this evening, says Quentin--I have some information about Maggie that might interest you. She's come home? asks Barnabas eagerly. No, of course not, says Quentin, but I found out that she had planned all along to leave when she did. How? asks Barnabas. She sent some of her things ahead of her, says Quentin. Where to? asks Barn. Heaven only knows, says Quentin, but the fact is, her things are gone, she's the only one who could have taken them. Barnabas looks skeptical. I see that you don't accept that, says Quentin. I'm going to resume the search, says Barnabas, and starts to leave. "Barnabas, she is gone!" blares Quentin--"And she left of her own choice--and what's more, she was hypocritical about leaving---the other night, she pretended that someone had stolen some things from her room--it turns out that she's the one who took them." How can you be so sure? demands Barnabas, his voice ragged. Why do you insist on forgetting one thing? asks Quentin--you saw her leave, no one forced her to go, she left of her own free will. I would be willing to believe this, responds Barnabas, if I thought it had any sense, but it doesn't--I'm going to continue looking for her!  He exits. Quentin stomps into the drawing room, infuriated.

Stokes enters the room containing the woman providing Angelique's life force and says, "Now, we'll see who's in control." He stands before one of the candles and says, "At this moment, I unite my will with your will, my life force with your life force--together, let us gather strength and power; let us try to recall what is gone, let us try to summon up that force of being which is rightfully yours--the two of us together..."

Sitting by the fire in the drawing room, Angelique stands and asks Quentin, "You're going away? At this hour of the night?"  I have some business in Bangor, says Quentin--I thought he'd drive up tonight, it will do me some good, I'll be more rested in the morning. Going to Bangor, hmm--I wonder if you would...no, never mind, I can do it myself. What? he asks. Some shopping, she says, it would bore you very much--I'll do it some other time. Drive up with me, he suggests.  You wouldn't mind? she asks. Of course not, he says, it would probably do you some good, too, to get away from here for a day. Delighted, she says, you're so nice. Not at all, he says, can you be ready in an hour?  Easily, she assures him, and the night drive would jut be so...she nearly faints, and he supports her. "Are you cold?" he asks. I don't know, she says, no, cold?--no, I'm not cold--it's as though all the strength were being drained out of me. Her eyes widen. Oh, no, this can't happen! she cries, it can't happen! And her eyes close as she feels faintness overpowering her.

Weak, she mutters, so weak. She leans against Quentin, who helps her to sit down in a chair--I'll get a doctor, he volunteers. No, she says, it's going away. What was it? he asks. Just a passing thing, she says, it's much better. I'll get Hoffman to help you upstairs, he offers. No, I just need some air, she insists, some fresh air. He offers to come with her.  NO! she says--I realize how that sounds--I'm all right, I need to be by myself, I just need some air, that's all.  She exits the house.

Stokes smokes a ciggy and plays chess with himself, a glass of booze in hand. Angelique bursts in, demanding, "Why did you do it?" He moves a piece--you won, he says. You know exactly what I'm talking  about, she says shrilly--I felt all the life being drained from my body!  Did you, my dear? he asks calmly. If you were trying to prove something, she accuses, then you have proven it--and it will not happen again, do you understand? Are you trying to tell me what I can and cannot do? he asks, gazing at her calmly. Don't you realize you could have ruined our whole plan? she asks angrily. Nonsense, he says drunkenly, I just wanted to make certain things perfectly clear--did I?  She realizes what he means, and concedes: "You win." "Good," he says, "I've been a loser most of my life, what a joy it is to win." And he moves a chess piece across the board.

A letter addressed to Maggie sits on the foyer table. Quentin opens the kitchen entrance door and calls to Hoffman--there's a letter on the table I want mailed at once. He closes the door, picks up the letter, looks at it, thinking to himself, Maggie should be pleased to hear I have no intention of going after her or trying to contact her in any way--I'm sure it's what she wants, so why shouldn't I go along with it?  He places the letter, addressed to Maggie in NYC, back down on the table.

Barnabas enters Angelique's room and closes the doors behind him. He begins looking around, searching. Frustrated, he continues to look, prying open a locked drawer with a letter opener, taking out a small red book. "He says he knows a way to circumvent death," he reads in what is apparently a diary. "I wonder if I can believe him?" Circumvent death? says Barnabas aloud--who is HE?--I think I've discovered something--I might have found what I'm looking for, and this time I shall not be disturbed--I'll lock the door until I'm finished.  Abruptly, however, he finds himself back in RT.  Julia enters. "Barnabas! You're back, you're safe!" she cries. I can't be! he protests. But you are! she says--Barnabas, what's wrong? "I'm back in my own time," he says, dismayed, "and in that other time, Maggie's in terrible danger!--how can I help her, Julia, how?"
Julia tilts her head sadly, probably as disappointed in his reaction as some of the viewers must be.

NOTES: Not even a lousy hug for the woman who's been waiting and pining for you back in RT, huh, Barnabas, not even one little peck on the cheek? For shame! Of course, when he finally gets his wish to be returned to his own time, Barnabas' only thought it for PT Maggie. He knows he's her only champion, only hope, for rescue. What is he going to do? If he chooses to go back, how will he accomplish it? And will the ardent, long-suffering Julia fans murder him for his decision?

Quentin remains clueless as always, refusing to even consider Barnabas' concerns about his missing wife. True, the letter signed in Maggie's hand seems like hard evidence, but why can Barnabas accept the concept that she was forced to write it while her own husband can't?

Stokes is quite a bastard, isn't he? One can imagine him having carnal knowledge of his stepdaughter, Angelique, which perhaps explains Alexis' hatred of him--did he try to become intimate with her, too, and she rejected him? The Stokes family in this time band is sure kinky! That he would tease Angelique, bringing her to the brink of needing a warm body just to ensure he's welcome at Collinwood is somewhat extreme--but it worked beautifully. He can have what he wants now, free reign at Collinwood. His powers are stronger than his daughter's, and he holds her life--and death--in his grubby hands. His drunken speech about finally being a winner was wonderful acting on Thayer David's part, but then again, when was he ever off the mark in any of his characterizations? Superb work.

Who thinks Barnabas will seek an immediate return to PT to save Maggie, raise your hands?

Who enjoyed watching Angelique almost faint in Quentin's arms? Who hoped he'd take her to Bangor with him and toss her out of the car at 60 MPH? Who wishes she'd get rid of that awful paisley dress?

Love, Robin

146
Robservations / #1028/1029: Robservations 07/21/03: Kidnapped!
« on: July 20, 2003, 02:19:36 PM »
1028 - Eying the sleeping Maggie with salacious intent, Yaeger urges himself--go for it now. . .I'll take her from this house--but where? I must find a place!  He's about to pounce when the phone rungs.  Yaeger hides in the drapery.  Maggie awakens and answers the phone.  It's Quentin, at the lab with the upset Sabrina. Stay with her, says Maggie--find out everything you can. Yaeger listens carefully to Maggie's side of the conversation. Maggie asks Quentin, do you want me to come to the lab?  He apparently says no.  I understand, says Maggie--good night. She falls back onto her pillow.  Yaeger is again about to strike, but a knock at the door sends him scurrying back to his hiding place (he so reminds me of an old-time villain in these scenes). It's Daniel. As Maggie reaches to turn on the light, the stagehands beat her to the punch--it goes on before she touches it. Where's my father? Asks Daniel.  At Cyrus' lab, she explains. I'll go to Cousin Roger, says Daniel.  Maggie stops him--I'd like to help if I possibly can, she offers. I was looking out my window, says the boy--I saw a man coming toward the house
--he got onto the terrace and started going toward the French windows. Perhaps it was the night watchman (they have one?),  suggests Maggie. No, says Daniel, he was bigger than Riggs, much bigger, I could tell. Are you sure it isn't your imagination? she asks.  (after all she's been through) Daniel looks hurt. I'm sorry for doubting you, she says. Then why are you? he asks. I can't imagine why anyone would try to sneak into the house, says Maggie. There are quite a few valuable things in this house, you know, he says petulantly. I know, says Maggie, I'm sorry--come along, we will go find Roger; if anyone did sneak into the house, he'll find them. She and Daniel leave.  Yaeger, angry at being foiled, steals Maggie's brush, comb and mirror and stuffs them in his pocket. He leaves through the window.

Sabrina is at the lab, looking for records of the experiment--if I had known when he was working on it, I might have been able to stop him! (How?) She flips through books, searching fruitlessly. Yaeger interrupts her. So, looking for the records? he asks. She gazes at him, scared, but forces herself to walk toward him. Why are you looking at me like that? she asks. Cyrus...she begins. Don't call me that! he commands, that's not my name!  He advances toward her--where is Quentin? he asks. I made him leave, she says. I bet you did, says Yaeger--where did he go, the police? No, she says, I swear, he knows nothing. I don't believe you, says Yaeger. I'd never betray you, she says softly. You are a fool! he cries--no wonder he was bored by you! He wasn't, she insists, but not like she believes it. You don't even know, do you? sneers Yaeger, you have no idea how he went to the Eagle every single night to see Buffie Harrington. Sabrina covers her ears and shouts, "I don't believe you!" She walks away from him. Yaeger laughs, "Whenever HE got there, he was too afraid to do anything!"  Sabrina points to herself and says, Cyrus loves me. You're going to have to find somebody else, he says. I won't, she insists. You're never going to see Cyrus Longworth again, he says. Don't you say that! she insists. I've murdered him, Sabrina, Yaeger taunts. NOOOO! She screams, again covering her ears (ridiculous!). Yes, he continues, you have been witness to a murder, you have, you saw his face turn into mine, saw his hands turn into these, strong hands that just TAKE whatever they want--hands that punish--do they frighten you, Sabrina? No, she responds, because I know Cyrus is still there. He snorts. You have not destroyed him, she says. That's my triumph, Sabrina, I have, he says--don't you have any idea how he hated being himself, so much that he just became me!  NO! Sabrina protests. And those detestable traits of his, continues Yaeger, they don't even exist anymore!  They will, again, insists Sabrina--you've left before, but you became Cyrus!  And I hated it every single time! he says  Why didn't you stay Yaeger? she asks. I used his body, to escape, says Yaeger. From what? she demands.  She gasps as the deadly sword leaps from the tip of his cane. See the sword? He asks, how easily it enters a body?--with just one little flick of my wrist and a scream in the night. Sabrina remembers: "Gladstone!" Yes, boasts Yaeger, he was my first victim, Sabrina, and ever since then, this sword hungers for another--are you going to be its next victim, Sabrina --are you? He brings the sword close to the terrified woman's face...

Do I frighten you? asks Yaeger--oh, good, because Cyrus Longworth never did. He attempts to retract the sword, but the whole damn thing falls out of the cane, another classic blooper. Yaeger, trying to recover it, asks, what's wrong with you?--you think too much, he accuses, you're just like Cyrus. He picks up cane and blade and holds them together in one hand. Why did you kill Gladstone? asks Sabrina. Because he dared to try to blackmail me! answers Yaeger, and you know what?--it was the perfect murder, just perfect. I don't believe you, says Sabrina--there must be some way for you to turn back to Cyrus, there must!  He chuckles cruelly. What a fool I was, she moans, working with you all this time, never suspecting your secret--there must be some way--you must be Cyrus again! He laughs derisively. You must, she insists--the police must be after you--I want to help, I'll do anything you ask, only please be Cyrus again. She clings to his arm. I can't, insists Yaeger--I have too much to do that Cyrus is afraid to do. You were working on a formula, she reminds him, is there something that you take? You'll just have to be satisfied to know what you do, he says.  I'll never be satisfied, says Sabrina. Then I'll kill you, he threatens.
You will need me, she says with dignity--I'll be here, waiting, I will do anything to help you. You love him that much, marvels Yaeger--all right, you will be right here, every single night, and maybe sometime I'll come visit you, and maybe I'll need you, and I'll always enter through that door (he gestures to the back basement door) and you'll always be right here, alone...well, until tomorrow. Don't go, she begs. I'm sorry, I have a lot to do, he says. Where are you going? she asks. I'm going to take care of something, he says--I'm going to take something that Cyrus is too timid to take (he licks his lips)--remember, not one word, Sabrina, or you're going to end up like our friend, the late Horace Gladstone. He leaves. Sabrina is completely rocked.

Daniel enters Maggie's room. Have you seen Hoffman today? She asks. No, he says. I wonder if she took my comb, brush and mirror, muses Maggie. Is anything else gone? he asks. Not that I've noticed, says Maggie--do you still think someone sneaked into the house last night?  No, you and Cousin Roger showed me I was wrong, replies Daniel. Did you have any trouble getting back to sleep last night? she asks. No, he says. Good, she answers, smiling. I have something for you, he says, I don't know if you'll like it or not, and it may be kind of childish, but...he smiles. He hands her a large, lovely shell. It's beautiful! she exclaims. I found it this morning, he says. I really appreciate your giving it to me, says Maggie.  It's a thank you for last night, he says--would you like to go where I found it sometime? Yes, she says eagerly. We'll go together, he promises, I'll see you later. Maggie smiles, delighted--I'm winning him over!  (And when did this change take place? The last time we saw Daniel, he wanted his stepmother OUT!)

Yaeger has found himself some creepy new basement digs.  The landlord promises to make him a good deal on it. Most people want to be near a town, says the prospective landlord. Yaeger nods--I prefer living alone, he says. You'll sure be away from things out here, the young man promises--nobody has lived here since my grandfather died last year. Yaeger admires one of the large basement rooms, which the young man says was used for storage--my grandmother canned a lot. Yaeger turns on the light and looks around--very interesting, he remarks--I think I'd like a new door--I'll buy it if you install it. Save your money, the young man advises Yaeger--this door will last you a long time yet. No, says Yaeger, you don't understand, I'm a scientist engaged in a rather unusual scientific practice, and this place would be just perfect for my lab--it would suit my requirements just fine--is that the only door? Yes, answers the young man. This room would be quite soundproofed, says Yaeger. Sure, agrees the landlord. My work has to do with sound, explains Yaeger, I measure the velocity of high speed notes, if you know what I mean, and this would be just perfect--shall we discuss the terms?  When would you be wanting it? the young man asks. Immediately, says Yaeger--I think I'll go home, pick up a few small things and take up residence tonight. That's awfully quick, comments the landlord. Do you want to rent it or not? asks Yaeger. Sure I do, the landlord assures him.  Yaeger points to a wall--I'd like a cot there, he says, since I work very late and get very tired, and a rocking chair conducive to meditation, and a mirror--I'm not a vain man, but it helps me in my work--and anything else I think would be comfortable.  Do you do this work alone? asks the landlord. Yes, says Yaeger, and this room would be perfect to be alone in--just perfect! They leave the basement.

Maggie sits reading in her room. Daniel enters--I saw Hoffman, he says--she doesn't know what happened to your brush and other things--when I told her they were missing, she looked awfully surprised. He leans on the back of her chair. There must be some explanation, she insists.  You've been here long enough to know that strange things happen here, he reminds her. Maggie says, "Now, Daniel..."  They do, he says, and sometimes before they happen, I get a feeling, like I had last night, like I'm having now--it's true, Maggie, I know it, something terrible is going to happen tonight.  Maggie looks understandably disturbed at this pronouncement.

The basement room Yaeger rented, complete with fireplace, cot, rocking chair, a table and other homey accouterments, pleases him very much. There's even a nice lampshade on the formerly bare lightbulb.  Yaeger pulls Maggie's brush, comb and mirror out of his pockets and places them on the vanity. He rubs his face against the brush in a most kinky manner, as if it were Maggie herself. The young landlord comes in.  Yaeger quickly puts down the brush he was making love to. Everything OK? asks the landlord. Perfect! says Yaeger. This door was some job, the man says. You did a good job, praises Yaeger. I've got everything packed and will be on my way, says the young man--as soon as I settle with you. Leaving town tonight? asks Yaeger--said all your good-byes? (Who else got a sinking feeling about this point?) Yes, answers the young man, but I didn't have many good-byes to say...this place sure doesn't look like what I imagined a lab would look like. Oh? asks Yaeger, taking out his cane.  I don't see anyplace to work, comments the landlord. Don't you? asks Yaeger. What kind of experiment did you say you were working on? queries the landlord. I don't believe I did, says Yaeger. Something with sound, you said, remembers the landlord.  Did I? questions Yaeger. You work with animals, guesses the landlord. What makes you say that? asks Yaeger. It's the door with the bolt on it, says the landlord. You certainly are a curious fellow, remarks Yaeger. It is my property, says the landlord--exactly what are you going to use this place for?  "What would you think if I told you a prison?" asks Yaeger, grinning--a dungeon. Aw come on, says the landlord. I'm quite serious, Yaeger assures him. Next you'll be telling me you're going to bring some fairy princess in here and lock her up! kids the landlord. I hadn't planned on telling you that, says Yaeger, but you're quite right, Mr. Wicks. Wait a minute, says the landlord. No, you wait a minute, says Yaeger, holding his cane-sword threateningly at the young man. You're serious, his landlord says. Very, says Yaeger.
Now I don't want any trouble here, insists Mr. Wicks. You can't stop the trouble, says Yaeger--you said all your goodbyes to all your friends--I guess they won't miss you much, will they? Holding his hands out in supplication, Wicks again says, "I don't want any trouble here." Yaeger says, "No, Wicks, no"--and stabs him to death. The handsome young landlord screams in pain.

Maggie bids Daniel good night--it's been a lovely day, she says--and see, nothing bad has happened. At least not yet, he says. When I was growing up, she relates, I used to have those feelings, too, that something would go bad. You did? he asks. And you know what, it never did, it never came true, she says. Well, mine do come true, he says worriedly, honest, they do. They wish each other good night.  I'm very happy about last night, she says, and today, too--I have a feeling we're going to become good friends. Yeah, he says. She sees him out of the room, then answers the phone. It's Yaeger, in a phone booth, posing as Cyrus--I must see you, he says, but I can't tell you over the phone what it's all about--will you meet me? Of course--at the lab? she asks. No, Sabrina's there, he says, I'd rather she didn't know--as a matter of fact, I'd rather no one knew, not even Quentin. Why? she asks. Maggie, he says, if you come, you must agree to my conditions, you'll understand after I see you.
Does this have anything to do with John Yaeger? she asks--has he gotten you into some kind of trouble?  Will you come or not? he demands. Of course, she says, where?  Widows' Hill, he says, closing his eyes--I know it sounds strange, but I can't think of anywhere else we won't be seen--it's vital I see you, can you meet me there at 11? I don't understand, admits Maggie, but yet. . ..  Don't tell anyone, he says. That will be very difficult, she says. I'll be in danger if you do, he warns--do you want that? No, she assures him.  He grins. "I'll see you then, he says.

NOTES: Aldon Wicks? With a name like that, perhaps he's better off dead, but he sure was a cutie, and he died so horribly. As soon as Yaeger started asking all those questions about him leaving town, saying goodbye to friends, etc., I realized he could have no witnesses to his murderous scheme, especially after telling him all about it. I wonder what Yaeger did with the body? Brrr.

Once again, Maggie is Clueless in Collinsport. I would think she'd be more careful of Cyrus' urgent desire to see her in such a desolate place, given Daniel's premonition, but then again, her own never came true, so why should she believe him? For all she knew, someone could have been holding a gun on Cyrus, forcing him to say those words to her. Her decision to go immediately was very unwise, but typical, I guess. And when did Daniel decide to be so chummy with Maggie? It would have been more effective to have a scene or two in which he was starting to thaw towards her. This was too sudden.

Yaeger is like a dog in heat when it comes to Maggie. Sabrina is all set to "help" him. Wonder what she'd say if she knew he was planning to kidnap another woman, hold her hostage, rape her, and kill an innocent man in the bargain? Rather than being so blind to what's happened, why  doesn't she work to find a way to return Cyrus to his own body?

This is so melodramatic, you've got to love every second of it. I know I am, as I did decades ago. Actually, I think we're heading for the final third of this storyline. And it's pretty good from now on!


1029 - John Yaeger reminds me of Snidely Whiplash!

Quentin enters his and Maggie's bedroom, where she is lost in thought.  Who were you talking to on the phone? He asks.  It was nothing, answers Maggie, just Sabrina, who didn't say what was wrong with her last night. She just called to chat? asks Quentin in disbelief.  What's with the inquisition? she asks. Nothing, he says, I'm just very concerned about Sabrina--did she say where Cyrus is? No, says Maggie, her eyes darting guiltily back and forth in her head.
If I didn't know any better, remarks Quentin, I'd think they were having a fight, but then, they never fight--I have a feeling they need our help. Perhaps we can help them, very soon, she says vaguely. You're not telling me all you know, he accuses. I'm sorry, she says, my mind was on something else--the weirdest thing has happened--my silver mirror and brush are gone. I'm sure you just misplaced it, he suggests. No, she says, Daniel and Julia haven't seen them either. You'll find them, he says. No, insists Maggie, I've looked everywhere, I just don't understand it. "Maggie," complains Quentin, I hate that phrase, everyone who mentions it immediately begins to start talking about the supernatural, so you surely don't mean the resident ghost has taken them." Of course not, she says--you make me sound so silly (duh).  I promised to help my son with his homework, says Quentin--I'm glad you and Daniel have made up a bit. She grins--it's the only good thing that's happened lately, she says. I'm not so glad you're able to say that, says Quentin, and leaves. She looks uncertain.

Angelique enters the drawing room, where Barnabas waits. She gaily asks, have you come to see me?  He turns to face her.  No, he says, I've come to see Quentin. Do you plan to tell him I'm Angelique returned from the dead? she asks.  You've already pointed out the danger in that, he reminds her. I just wondered how carefully you listened, she says. "I always listen to an enemy," he says. (Go, Barn!)
The smile leaves her face--oh, she says, you are frank, aren't you?--I can learn a lot from you--I've been doing a lot of reading on a very fascinating subject--parallel time--does that phrase mean anything to you? Should it? he asks. Perhaps, she says--the theory is that there are other bands of time besides our own, and we live in them also--and there are even places where people can move from one band of time to the other. It hardly seems possible, says Barnabas. Even to YOU? she asks--the East Wing seems to be one of those places where one can move back and forth--I wonder what would happen if one of us happened to be standing in that room when it changed? There's only one way to find out, says Barnabas--by staying in that room. "Is that what happened to you when you came from your time, Mr. Collins?" she asks sharply. He looks at her and says, I wish I could confess to what you're implying, but I am not a visitor from another time. Quentin joins them--"Barnabas" he says--"how pleasant--am I interrupting something here?"  She and Barnabas exchange challenging glances, but she says, no, Quentin no, I still have letters to write and will catch up on them now--it was nice talking to you again, Mr. Collins--"I seem to get to know you better each time we're together--I like that." "As I do," he smiles.  She leaves the room, closing the doors behind her. Barnabas refuses Quentin's offer of a brandy.  They agree they are both very concerned about what's happening here. If you were as concerned as I think you should be, advises Barnabas, you would take Maggie away from here. That's being a little bit melodramatic, don't you think? asks Quentin. I think not, insists Barnabas--what happened here the other night is not to be discounted--Maggie did hear Angelique's voice--I know you doubt the picture spoke to her... Quentin pointedly asks Barnabas, how did YOU know that?  Maggie told me, answers Barn, she was very upset--there is a spirit here that means to harm your wife. Yes, chuckles Quentin, a spirit, a vengeful spirit. You doubt it? asks Barn. I have a feeling that Maggie herself is responsible for what's happening here. "Quentin!" says Barnabas reproachfully. I haven't told that to anyone, and probably shouldn't tell you, says Quentin, but I'd be lying if I didn't admit it--none of these occurrences took place until Maggie got here. You don't believe that! says Barnabas. I don't know what I believe, admits Quentin. You must decide, says Barnabas, and you're wasting your time doubting your wife--your present wife, at least--look around you, that's all I ask, decide who is good and who is evil. (Outside the doors, Angelique listens carefully.)  Are you trying to warn me about someone specifically? asks Quentin. I cannot without having proof, says Barnabas, nor should you accuse Maggie without proof, either. Angelique makes a face at this comment. I must go upstairs and speak to Elizabeth, says Barnabas. Angelique hurriedly leaves her eavesdropping post, knowing he is soon to exit. He does, heading upstairs.  Angelique exits her hiding place in the kitchen area, enters the drawing room and immediately tells Quentin, I heard you talking to Barnabas, and I'm sure he means ME--he's been against me ever since he came here--he has, I don't know why, I've tried to accept him, like we all have, someone we know nothing about, but he seems to think I'm causing all this trouble--"All I want is for the two of you to be happy," she insists, going into his arms. He hugs her, reassuring her, rubbing her back-- everything will be all right, he promises, as if she's a little kid--we all want he best for each of us, he says soothingly.

 In Yaeger's creepy new digs, he's prepared for Maggie's arrival, smoothing out the bed covers. It's 10 o'clock, he tells himself, in an hour, Maggie will COME to me. (Emphasis is correct.) Will she like this room? he wonders--I must make it more comfortable--there must be everything here she wants! He takes his cane and heads out.

Yaeger, who can apparently enter Collinwood without any difficulty at all, enters Maggie's room again. He takes her suitcase, puts it on the bed and begins to fill it with her clothes (but first he rubs them against his face, the pervert).

I won't have Barnabas upsetting you, Alexis, Quentin assures her--if he gives you anymore trouble, you must let me know. Oh, Quentin, she croons, you are kind, such a kind man. He rubs her arm and assures her, it's all right. Maggie enters.  I was just coming out to look for you, says Quentin--"Alexis," please excuse us.  The blond leaves. I have an errand in town, begins Maggie.  Not before we have a little talk, my dear, insists Quentin--why did you tell Barnabas you heard Angelique's voice? Because he was here, she says (and far more sympathetic than you.). That is no reason, he insists. I thought it was, she says defensively, Elizabeth found me in the room and I was very upset. But Elizabeth did not hear the voice, he reminds her. Elizabeth believed me, says Maggie, she brought me down here--Quentin, you still don't think anything happened; you still think it was my imagination! (Angelique listens again outside the door.) I just don't think you should confide something to a total stranger! says Quentin angrily. I wouldn't call Barnabas that! says Maggie. And even if it did happen, continues Quentin, I don't want everybody to know about it. I think you'd prefer that no one did, accuses Maggie.  Angelique goes upstairs. Perhaps, agrees Quentin. Perhaps you would wish I hadn't even told you, she says. Maggie, he says, I don't want to fight about this again. Our fights just go on and on because not one of them is resolved, she says. And who's at fault? he demands--you keep believing that you find...and you keep doubting every word that I say, she shoots back. With reason! he says, and stamps out of the room. She follows him, calling his name, but we hear yet another door slam.

Entering Maggie and Quentin's room, Angelique discovers Yaeger there.  Who are you? she demands, then says, no, you don't have to tell me, I already know--you're John Yaeger!  She locks the door behind her--I've been wanting to talk to you, she says--"Does the second Mrs. Collins know that you're here--is it possible she has a secret life?" She giggles--"Oh, what fun!" How do you know who I am? he asks, his voice dangerously low. I collection information, she replies, I know about you and Mrs. Collins, she confides in me. That isn't very wise, opines Yaeger.  No, no, says Ang--you and I can be friends, John Yaeger.  Oh? he asks, eyeing her hungrily, you make up your mind even quicker than I do. I have the ability to recognize evil, she says. And deal with it? he asks. I'm not afraid of it, she assures him--now either Mrs. Collins knows that you're here or you have a plan, and I want to know what it is. Do you value you life? he asks warningly. I'm not afraid of dying, she says. His face is very close to hers. Tell me your plan, she commands, and tell it to me now, before someone else comes in here. She grins.

Drawing room - A despairing Maggie tells Barnabas, it's no good, I can't reach him, and can't even confide in him anymore--I'm not supposed to be talking to you, Quentin doesn't like that. I'm sorry Quentin should feel that way, says Barnabas. I need help! cries Maggie. I know that, says Barnabas, and there is one person in this house that you must not trust. Who? asks Maggie. I know what you're going to say before I even tell you her name, he says. Hoffman? she asks--I don't trust her. No, not Hoffman, he says, although she's somehow involved--"Maggie, ALEXIS is your enemy." Barnabas! she protests. I know it, he says. You're wrong, she insists. No I'm not, he tells her. But she's been so nice to me, says Maggie. That's part of her plan, he says gently. She couldn't be responsible for what's been happening, says Maggie, she's as frightened of it as I am.  No, she's just pretending, he explains. Barnabas, says earnestly, I like you, and respect you very much, but you can't expect me to believe that without some sort of evidence--you don't have any, do you? None that you'd believe, he answers reluctantly.

In Maggie's room, Angelique watches as Yaeger picks up a silver beaded necklace belonging to Maggie. "This is hers," he says, fondling the necklace in his fingers, "everything she's touched I must have! Oh I just want her so much!" And you will have her, promises Angelique, holding his arm, all you need is for me to help you to make your plan work perfectly--I can arrange it so Maggie Collins leaves this house hating Quentin--and I can also arrange it so Quentin will not follow and look for her. "You want him," says Yaeger. Yes, she says eagerly, now we understand each other
--your plan is a good one, very good, all it needs is for me to give it the finishing touches. And here, Miss Stokes, Yaeger says, all I thought of you was that you're a very pretty woman. Oh, I'm more, she brags, much, much more--now, I'll see that you get out of here safely. One question, he says--why is it that you came in this room tonight?  I had to borrow something of Maggie's, she says, something I needed for both of our purposes--she pulls a handkerchief out of the dresser--this will do. She unlocks the door, checks the hallway, and gestures for Yaeger, carrying Maggie's suitcase, to follow.

11 PM - Maggie enters her bedroom and looks at the clock. She hears Angelique's taunting voice: "Quentin doesn't believe you, Maggie!"  Maggie looks around nervously.

Angelique, down in the drawing room, sits beside the fire, holding Maggie's "M" monogrammed handkerchief in her hands. "He doesn't care enough to believe you," she adds.

Where are you? cries Maggie, searching frantically around the room.  Watching you, says Angelique's voice, I am always watching you--waiting for the time when you decide to leave. I won't leave! wails Maggie, I won't! Yes you will! says Angelique. STOP IT! screams Maggie. Quentin enters--who are you talking to? he asks--what's going on here?  "He hates you, Maggie!" says Angelique's voice. Did you hear that? Maggie demands of her husband, who looks at her blankly.

Quentin gazes quizzically at his wife--what am I supposed to hear? he asks. Angelique bursts into giggles. Her laughter, says Maggie, holding up her hand--surely you hear that. Whose laughter? he asks. Angelique's giggles fade away.  Quentin, Angelique was in this room, says Maggie. Now Maggie... he begins placatingly. Why won't you believe me? she begs. Because it isn't true--there's no one here, he insists. Are you in some sort of conspiracy against me, trying to drive me mad? she asks. How dare you say that? he asks, furious. "Because sometimes I think you are!" she yells, and races from the room.

Yaeger hangs up Maggie's clothing in the dungeon room, then takes her long beaded necklace and runs it over his face. "Widows' Hill, how perfect!" he exults, putting down the necklace and leaving the room.

Midnight - Maggie, wearing her coat, runs downstairs. Barnabas meets her, startling her. What's happened? he asks. Nothing, she says, heading for the door. Where are you going? he asks.   "Please, Barnabas," she says in a tear-filled voice. "Let me help you," he calls, but she's already gone. He calls her name again, then goes back into the house.

Fog-shrouded Widows' Hill - Yaeger, waiting for Maggie, checks his watch, crouching low. Maggie appears--Cyrus! she calls, looking around for him. Over here, Maggie, says Yaeger, still hiding. Where are you? she asks. Yaeger appears behind her, grinning, laughing--"I'm here, Maggie."
Seeing who it really is, she screams shrilly to the lightning while Yaeger triumphantly laughs his ass off.

Her scream carries over into the foyer (I think that's a blooper), where Barnabas is telling Quentin, I tried to stop her, but she wouldn't listen. I know you did, Quentin assures him. We must find her, Barnabas insists. No, says Quentin angrily--she'll come back. Barnabas doesn't look as if he agrees with his cousin at all.

Yaeger drags Maggie into his specially prepared dungeon. You'll find everything you want here, he assures her. Maggie sobs, "Cyrus, where is Cyrus?"  Yaeger grabs her into his arms--Cyrus isn't going to come to you, he says. Let me go! she shrieks, covering her face, beginning to sob. "I thought I'd never mind seeing a woman cry," says Yaeger, then backs away, hand on the doorknob--you will learn to like this place, he assures her. No! she pleads, no!  He closes the metal door and locks her in. "LET ME OUT!" she pleads, banging at the door.  Cyrus ignores her and goes upstairs, leaving her alone in the dungeon he created especially for her.

NOTES: Angelique and Yaeger, partners in crime. It gives one shivers to contemplate the damage these two can cause together, because one is a human monster the other inhuman. That she actually got in cahoots with this insane, kinky-minded man shows you how very much she wants to rid herself of Maggie and claim Quentin for herself. Too bad Angelique was right about the way Quentin would react to Maggie--once again, despite the fact that he's seen dozens of weird things happening in the house, he still refuses to believe his own wife when she claims to have heard Angelique's voice speaking to her. Angelique seems to know these two better than they know each other--or themselves. Too bad!

Yaeger continues his kinky ways with Maggie's belongings. Odd that he didn't drag her into the basement prison and rape her immediately, considering the way he's been salivating over it all this time. Sick man, and impatient; you wouldn't have expected him to wait to enjoy the fruits of his labors. Why lick a brush or rub your face on a necklace once the real thing is in your grasp? I thought Yaeger was a macho guy who TAKES what he wants!

Quentin, clueless as usual, is more upset that Maggie confided in Barnabas than the fact that she heard Angelique's voice, which Barnabas supports his belief in. It would be nice to see Quentin get a clue, realize his wife is telling the truth, and be the supportive mate he should be. Barnabas is treating her better than her own husband is, rendering this Quentin a stupid, chauvinistic bully. For shame!

Loved the exchange between Barnabas and Angelique ("I always listen to an enemy"), their sparring, whether in RT or PT, is always fun to watch. When Quentin asked if he was interrupting something, he probably meant a romantic interlude--if he only knew the truth, what would he say?

Barnabas finally warns Maggie who her enemy is, but Maggie stubbornly refuses to believe it. She trusts Barnabas implicitly, it seems, so why not believe him, at least for now, and be more circumspect about Alexis--especially given what we saw happen between Yaeger and Angelique upstairs? Of course, we are privy to all this and Maggie isn't, but Barnabas has been her friend, so why not take what he says at least half-seriously? Thank God that, while Quentin won't search for Maggie, Barnabas will, and hopefully will be her savior.

Now Yaeger has Maggie where he wants her, along with many of her own belongings. Will he take what he wants, rape her kill her--what? What are his long-term plans for Maggie, who should have known better than to meet who she thought was Cyrus on Widows' Hill?

Love, Robin

147
1026 - Maggie leans dangerously outside the window, nightgown rippling in the wind, as Angelique continues to taunt her--Quentin doesn't want you anymore--"Because he'll never stop loving me."   Stop it, begs Maggie, screaming.  Only death can shut out the sound of my voice, declares Angelique--why wait?  Hoffman, smiling a little, stands outside Angelique's voice, listening to Maggie's cries. Liz joins Hoffman--I heard someone scream, she says.  I don't know, says Hoffman--it came from in there (but she's made no move to enter and help). Liz immediately enters and reaches out to pull Maggie, who begs, "Let me go!" back in. Liz reminds Maggie, if you jump, you'll take me down with you--do you want me to die?  I only know I want to die myself, insists Maggie. Mrs. Collins, you don't mean that, says Hoffman (without conviction).  I'll handle this, says Liz, just leave us alone--come away from the window, Liz urges Maggie.  The young bride says, I want to die--I have nothing left to live for!  Liz, her arm around Maggie's waist, asks what do you mean?  Angelique told me herself that she'll never give Quentin up, sobs Maggie, she's the only one Quentin wants and it will always be that way. You don't know what you're saying, insists Liz.  I do, says Maggie--Angelique said so herself.  That isn't possible, says Liz. I heard her voice, says Maggie, and she spoke the truth.
Angelique is dead, you just imagined all this, says Liz. I just want to die! screams Maggie again. If you jump, Liz reminds her, you'll make Quentin feel guilty--do you want to destroy him, too?  This calms Maggie, who finally, willingly comes into the room with Liz. Julia, still standing outside, looks disappointed, but grins as she walks down the hall. Back inside the room, Maggie tells Liz, I have nothing left to live for, nothing--everything Angelique said was true, all true. Maggie falls into a chair, sobbing, as the camera pans on Angelique's portrait.

Angelique, still trying to coax Maggie into jumping, realizes something has changed, and tells Maggie, my presence is in the portrait--"Look at me." Hoffman enters--Maggie almost jumped from the window, she explains--Liz heard her cries and came in and stopped her. Elizabeth was always too meddlesome for her own good! complains a disappointed Angelique. I know how you feel, says Hoffman, but it's better this way. Maggie Collins should be dead! insists Ang bitchily. Hoffman brings up a good point--Quentin would spend the rest of his life feeling guilty about Maggie's death. I can handle his guilt, insists Ang. You want them to separate of their own free will, says Hoffman--Maggie will never stay with Quentin after what he did to her tonight--you've won, but you just don't realize it yet. Yes, says Angelique, I know, but still, the image of Maggie lying on the stone beneath her window, cold, was not an unpleasant one--however, you're right, I have won, and that's what's important, isn't it?

The drawing room is still littered with party detritus as Liz leads Maggie in and seats her on the sofa. She turns on a light.  Someone knocks at the door. Liz goes to answer it. It's Barnabas, still in his party costume. Is something wrong? she asks--what made you return so late? I was wondering about Quentin, he says. Liz asks him into the drawing room--I don't want to leave Maggie alone.  Has Quentin come back? asks Barnabas. He'll never come back, says Maggie in a dead voice, as long as I'm here. Are you all right? asks Barnabas. Of course she isn't, says Liz, pouring Maggie a drink, how could anyone be after an evening like this?--"I'll never forgive Quentin for running out like that, never."  He was only thinking of Angelique, remembering her, says Maggie. I'm not interested in what he was thinking, says Liz--she hands Maggie the drink. No, says Maggie.  Liz insists--it will make you feel better. Barnabas tells Maggie, Elizabeth is right--he takes the drink from Liz and encourages Maggie, drink just some of it--perhaps it will help calm you. Looking up at Barnabas as if in a trance, Maggie obediently takes a sip. Stay with Maggie while I goes up and fix her a place in my room, asks Liz--I won't be long. That isn't necessary, says Maggie.  Liz insists--stay here with Barnabas and drink some brandy, she urges the distraught woman. Maggie suddenly gasps, overwhelmed by a chill.  Barnabas goes over and stokes up the fire. Angelique promised she'd return, says Maggie--she's kept her promise. Oh? asks Barnabas, interested.  I heard her voice tonight, says Maggie, but that wasn't necessary
--for a long time I knew she'd come back. You heard her voice? inquires Barnabas. Never mind, says Maggie, you'll just tell me the same thing Liz told me, that it was the strain of the evening, the party. Where did you hear her voice? asks Barnabas. In her room, reveals Maggie, coming from her portrait--telling me... Telling you what? asks Barnabas. That she would never give Quentin up, because she's the one Quentin really wants--"It's the truth!"  Maggie, says Barnabas gently--Angelique is dead. IS she? asks Maggie--then why is she still here, in every corner of this house?--these rooms are filled with her presence.  You mean only her spirit is here, suggests Barnabas. I don't know what I mean, says Maggie, except that this house is hers, these rooms, and Quentin--even Quentin is hers, she'll never let me have him, never. In a way, says Barnabas, I believe you may be right. He walks away from her.  She sips more of her drink. "You may be more right than you know," finishes Barnabas, gazing up at the empty upstairs landing.

Maggie sits on her bed in her room. Liz comes over and begins to brush her hair. You make me feel like a little girl, says Maggie. Are you feeling better? ask Liz. Calmer, says Maggie. That's a beginning, says Liz. Not a beginning, counters Maggie, only an ending; I've got to accept that. You can't, says Liz. Tonight I wore a dress that belonged to Angelique, says Maggie-Quentin saw me in that dress, he saw so clearly the difference between Angelique and me, I don't blame him for getting angry, for running from the house and not coming back. I do, says Liz. You shouldn't, says Maggie, it's not his fault I'm not Angelique. You must stop comparing yourself to her, insists Liz. Would Quentin stop? asks Maggie--never--she's won and I must accept that. You mustn't, says Liz. I have no choice, says Maggie. Don't allow the dead to overcome the living, urges Liz. Please, says Maggie, I want to accept defeat, please don't make me fight anymore, I just want to rest.  She lies down on her bed.

Barnabas is looking over THE SEVENTH LEVEL OF WITCHCRAFT when Hoffman enters--I didn't know you'd come back, she says. I was waiting to hear from Liz about Maggie, he says--it's been a very difficult evening for her. So I understand, says Hoffman--I won't interrupt your reading, good night.  Barnabas stops her and asks, "You were very close to the late Mrs. Collins, weren't you?" Yes, she answers, I was very devoted to her. I was just looking at this book that apparently belonged to her, remarks Barnabas--"Fascinating."  Mrs. Collins had a wide variety of interests, says Hoffman. Some of them most unusual, remarks Barnabas. She was a most unusual person, answers Hoffman. So I gather, says Barn, I understand that she even promised to return after her death. She might have said it, smiles Hoffman, but of course it was figurative--she was just talking about her love for Quentin, so great it would survive after her death
--I don't think that's very difficult to understand. Angelique enters, asking, WHAT isn't so difficult to understand?  Mr. Collins was asking if I'd ever heard anything about "your sister" returning after her death, says Hoffman. Barnabas stares at Angelique as she respond, I'm sure she did--Angelique was something of a romantic.  Romantic? repeats Barnabas, gazing pointedly at the spine of the book in his hand.  Mr. Collins was looking at one of Angelique's books, says Hoffman--on witchcraft. Oh, says Angelique--now, Mr. Collins, surely you don't think that Angelique's talk of returning from the dead had anything to do with witchcraft?--perhaps you yourself are the romantic. Perhaps, agrees Barnabas, giving her a sideways look.  Hoffman, says Angelique, I need a light bulb in my bedside lamp--I want to do some reading. Hoffman leaves. "You are a curious man, Mr. Collins," remarks Angelique--I see that book has caught your imagination. Not my imagination, says Barnabas, my interest, yes. She sits on the sofa and begins to trim the flowers, explaining, I find even the idea of the occult immensely boring. Really? he asks. I don't dismiss it entirely, she says, but it seems that to deliberately pursue it would be a waste of time. "Oh?" says Barnabas.  I don't mean it as a criticism of Angelique, she says, but don't you think a really fertile imagination shouldn't have to resort to witchcraft or stimulation? But what if it wasn't merely to stimulate the imagination? he asks. I can't imagine what other purpose it would have, she says. Perhaps a purpose of a more concrete nature, he suggests. Oh, I see, she says, rising from the sofa, walking towards the fire--now you're returning to your notion that Angelique's interest was sparked by a desire to return from the dead. She sits by the fire. Possibly, says Barnabas.  She laughs--I find a discussion of witchcraft so late at night positively ludicrous, she says. Perhaps, says Barn, but there are still portions of this book that would be very much of interest to you. I doubt it, she says.  The portions I was just reading, he says--the uses of fire in sorcery and witchcraft. Why should that interest me? she asks. If you remember, he says, last night you mentioned to me your attraction to fire. Oh, she says, well if you remember, I said my attraction was purely aesthetic. So you said, he says, but it was my distinct impression that when I saw you here, looking at the fire, you seemed to have more than an aesthetic interest. Why are you implying, Mr. Collins? she asks. Merely stating my impression, he says. Too bad you never knew my sister Angelique, she says--she had a marvelous appreciation for the preposterous.  *I* am being preposterous? he asks--well, if you'll excuse me, I'd like to say good night to Mrs. Collins, he says, bowing. Smiling, he leaves her. She, however, is not in the least pleased.

Do you think he knows? Hoffman asks Angelique.  No, but he definitely suspects, says Ang. Hoffman, worried, says that could be dangerous--he could talk to Quentin. Remember, says Angelique, Quentin and I have already been through the game of does she live or does she not, and the game ended the night Alexis' body was destroyed--anyone trying to revive speculation would get himself laughed right out of Collinwood. Suppose he finds a way to prove it? asks Hoffman. I have just the cure for her anxiety, says Ang--relax and enjoy the spectacle of Barnabas trying to prove anything. I just don't like it, comments Hoffman. Remember one thing, says Ang, even if Mr. Collins does get a little too close to the truth, I have the means to deal with him--after all, he is only human. (HA!) Yes, of course, says Hoffman, how could I have forgotten that?  Angelique grins.

Maggie lies in bed in her room, Liz and Barnabas by her side. I didn't want to leave until I knew you were all right, he tells the young woman. She feels much better now, says Liz--aren't you, Maggie dear?  I'm going to be all right, says Maggie in that dead voice. Of course you will be, agrees Barnabas. What she needs is a good night's sleep, says Liz, isn't that true, Maggie? Maggie asks, has Quentin come home?  I haven't seen him, answers Barnabas--I don't think he has. I'm quite sure Quentin is all right, Liz assures Maggie, as will you yourself be--Barnabas, tell her she hasn't anything to worry about. We will handle whatever difficulties there are, says Barnabas--just forget everything and rest--good night. He bids Liz good night, too, and leaves. Maggie, he's a fine man, says Liz--doesn't it mean something to you to know you have friends who love you and want to help you?--it does, doesn't it?  Maggie doesn't respond.

Barnabas goes to the still-open window in Angelique's room and closes it, then gazes up at the portrait. "Let me look into the eyes of Angelique and know the truth," he commands the portrait, staring at it.

What more could I need, Julia? Angelique asks Hoffman--no, good night. Hoffman smiles at her--I'll see you in the morning, she says. Yes, agrees Angelique, the morning of my new...and she stops. What's wrong? asks Hoffman.  Someone is watching me, says Angelique, I can feel someone looking at me. There's no one here, says Hoffman.  "Looking, staring into my eyes," says Angelique, touching her temple.

Barnabas continues to concentrate, looking into the eyes of the portrait, which begin to glow.

Angelique's own eyes are bathed in an eerie white light; she cries out, "My eyes, they're burning, they're on fire!"  What can I do? asks Hoffman. "My eyes are on fire!" blares Angelique, I can't bear it!"
Now Barnabas' eyes are superimposed upon Angelique's.  "It's the eyes of Angelique I'm looking into, he says--it is the truth of Angelique that I must know--come closer to me...closer...closer! "My eyes, stop looking at me!" screams Angelique, entering her room in a panic. She sees Barnabas standing there. "Why?" demands Barnabas, "because I see Angelique?"  "You!" she cries. "You know!" "Yes, Angelique, I KNOW!" he says, gazing at her triumphantly.

NOTES: Ooohhh, wasn't that great? Who thought he'd have figured her out this quickly? What a great group of scenes at the end there, and how cool that he used burning and fire to get to her! You've got to love that expression on Barnabas' face, and you know he's thinking how great it is that he got revenge against Angelique for all she pulled on Maggie this evening. Burn, baby burn!

The scene with Maggie threatening to jump lasted way too long; I got so annoyed with her, I WANTED her to jump. She is just being so namby pamby about her own life, it's depressing to watch. Get some backbone, girl!

Glad Barnabas worked on Angelique while Hoffman was there. Now he knows he has two enemies, and Hoffman had better watch it. Grayson Hall does make her so very delightfully hateable!

At least Liz is feigning kindness toward Maggie, or perhaps it's even real. It's hard to tell with her, one senses Liz blows with the wind.

Barnabas put the clues together about Angelique very quickly, certainly one of the least clueless people in this storyline. He spoke to Maggie, to Hoffman, to Angelique, and viola, he did his neat little thang with the portrait and exposed her. Now what will happen? Will she try to "freeze" him to death, as she did Larry and Fred? Won't she get a surprise if she tries!

Poor Barnabas, running into a troublesome Angelique in both time bands. I bet he wonders if there are any out there in which she's good.

What will happen now that Barnabas has learned the truth about Angelique? A lot more interesting stuff is yet to come.


1027 - Angelique approaches Barnabas and asks, how did you discover I'm Angelique?  I am an astute observer, he replies (and apparently the only one in the whole house). Who ARE you? she demands--or perhaps I should say WHAT are you? A cousin of Quentin's, and a friend of his and Maggie's, says Barnabas. Any man who can see into my eyes by staring into the eyes of my  portrait in another room, and who can stand before me without fear is more than just a friend and cousin, she insists--he is not human. Let's concentrate on you for the moment, suggests Barnabas, and discuss my reason for summoning you here. Very well, what is your reason? she asks. Stop this plot of yours to destroy Maggie and take Quentin for yourself, he orders. (Love how he cuts to the chase.) And if I refuse to heed your warning? she asks--what will you do then? Then I will be forced to stop you myself, he says. How--by telling Quentin? she asks--he will laugh at you, after he gets over his exasperation--he's convinced I'm Alexis--if you don't believe me, tell him that I'm Angelique and see what he says. There are other ways of stopping you, I'm sure, he says. What confidence you have in your powers, she muses, whatever they are--but remember, I, too, have powers and they are stronger than yours. "We shall see, Angelique, we shall see," promises Barnabas. He bids her good night and leaves the room. Angelique picks up the phone and dials. At the other end, the phone is answered by a man holding a cigarette in one hand and a drink in the other. Father? asks Angelique. Who is this? he asks. (!) "Alexis, of course," he says, "I'd heard you came back." I must see you immediately, she says. Sorry, he says, taking a sip of his drink, but you should know by now that I'm not interested. (Nice, dysfunctional relationship there.) Would you be interested if I had something to tell you about Angelique? she asks. What about Angelique? he asks. I'll tell you when you come to Collinwood--meet me in Angelique's room in half an hour, she asks. Very well, he agrees, I'll be there. He hangs up, as does she. She sits down to wait for the arrival of Daddy Stokes.

As Barnabas heads downstairs, Quentin returns to Collinwood. We've been worried about you, says Barn. Where's Maggie? asks Quentin, sounding exhausted. She's gone to bed, says Barnabas. Is she all right? asks Quentin. You'd better go look in on her yourself, advises Barn. In a few minutes, says Quentin, heading for the drawing room. Barnabas stops him and asks, had you ever met Alexis before she came here? No, says Quentin, why do you ask? No reason, just curious, answers Barnabas--good night. He leaves.  Quentin looks after him, perplexed.

Angelique paces her room, smiling. Her father knocks at her door and, without preamble or greeting, asks, what information do you have about your sister?  "What?" she asks, totally pissed--"Not a word of greeting after such a long separation?"  Really, he says, don't you think a show of fatherly affection on my part would be mildly hypocritical?--we've never made any secret of the way we feel about each other. True, she says, it was always Angelique you cared about, wasn't it?--well, allow me to congratulate you, Father
--on the success of your experiment--your darling Angelique--"I have come back." He grins, delighted. "You're Angelique?" he says to his laughing daughter, and embraces her. She hugs him back.  For safety's sake, she adds, you'd better call me Alexis. Everyone assured me it was Alexis who came back from Florence, he says.  It was, she tells him, just in time to give me the warmth of a sisterly touch--all the human life I needed. "Then Alexis was the one who opened the coffin," he says, not quite so gleeful anymore. Unfortunately, she says--"Does it bother you that she's dead?" Of course it does, says Stokes, I was only her stepfather, but I didn't want her to die.  But we are back together again, she says with delight, taking his hands--you and I. Yes, we are, he agrees. And we have work to do, she says. What do you mean? he asks. As you know, she says, Quentin is married again, and I am going to get him back, of course. Of course, agrees her father. They sit on the window seat. Someone is interfering with my plan, she says, someone who has unusual, and I suspect, supernatural powers. Who? he asks. Barnabas Collins, she says. That's the name of the man in Will Loomis' book, he observes. Yes, this man claims to be descended from him, she says--he's so strange--his manner, the way he just arrived, plus the fascination he seems to have with this room. I don't understand, he says. Very odd things have been happening in this room, she says--Quentin, Barnabas and I have all witnessed it at different times. (Stokes wears and blue bow tie with white polka dots.) Tell me about these odd occurrences, he says. I can only tell you about my own, she says--I was coming down the corridor, opened the door to this room and found it had completely changed--empty, no furniture or drapes, deserted--then Hoffman came into the room, but not the Hoffman we know--she was dressed differently, her hair was different, besides, I had just left our Hoffman down in the foyer, minutes earlier. Fascinating, says Stokes, this is absolutely fascinating. He takes a puff of a cigarette and says, "The theory of parallel time!--according to the theory, my dear, the same people can travel down different time bands, simultaneously--their lives are different in each time band, of course, depending on the choices they make."

The camera focuses on Quentin's photo in his and Maggie's room. Quentin quietly enters the room and closes the door. He stands looking at Maggie, shaking his head. She awakens, sees him, and sits up in bed. They look at each other.

Maggie turns on the light, rises from bed--Darling, I'm so glad you're back, I feared something had happened to you. (He's still wearing his costume.) He turns away. Why did you just leave like that? she asks. Did anyone tell you whose dress you had on? he asks. I know, she says--it was the one Angelique wore last year. Then why did you wear it? he asks. I didn't have a costume, she explains--Alexis helped me select it from the trunk--she didn't know anymore than I did that it was Angelique's. Oh, I see, he says tiredly. He pulls at his torn shirt, takes off his tie. Is that all you have to say? she asks. He is silent. Quentin? she asks. I'm very tired, he says, I've been driving all night. I know that any mention of Angelique's name is painful to you, she says, but you don't know what happened after you left last night--I very nearly killed myself.
What? he asks, reaching out for her--what are you talking about?  I was in Angelique's room, she explains, and I heard her voice. Now, Maggie, he says warningly. She, however, continues--I heard Angelique's voice coming from the portrait over the mantle. That is impossible! he insists. It was telling me I had nothing to live for, she says, because... "Maggie, you were imagining that!" he says. I wasn't, she says--doesn't it mean anything to you that you could have come home and found me dead beneath HER window?  Gently, he says, I'm struggling, trying very hard to understand certain things--I want you to live and be happy, but every time I seem to end up hurting you. He touches her chin and says, I'm willing to start all over again--what more can I do?  I don't know anymore, she says. They seem eons apart.

Stokes goes to the Old House and begins poking around, opening desk drawers. He examines Barnabas' wolf's head cane. Barnabas comes out and finds him standing in the drawing room. Who are you? he demands.
Permit me to introduce myself, says Stokes, embarrassed, I'm Timothy Eliot Stokes-- the gentleman who owns this house, Will, is an old friend of mine. Isn't it strange for you to be wandering around an old friend's house just before dawn? queries Barnabas. Will doesn't keep regular hours, says Stokes, or at least he didn't used to--perhaps he's changed.  Perhaps he has, says Barnabas, taking his cane from Stokes' grip.  Are you Barnabas Collins? asks Stokes. I am, says Barn--how did you know me? I suppose I recognized you from the description in Will's book, says Stokes--"You look very 18th century"--but I don't suppose you dress that way all the time. There was a costume ball last night at Collinwood, says Barnabas. Yes, the annual costume ball, says Stokes, it was started some years ago by my daughter, the late mistress of Collinwood. So you are the father of Angelique and Alexis? asks Barnabas. Stepfather, corrects Stokes, HER stepfather, only one of them left now. Yes, only one of them, says Barnabas. I beg your pardon for asking, says Stokes, but have we met before? I don't believe so, why? asks Barnabas. When you came into the room a little while ago, says Stokes, you looked at me as if you recognized me. On the contrary, says Barnabas, it was the surprise of finding a total stranger wandering around the house at an unusual hour. I'm sorry, says Stokes, Will has always been very generous, let me come and go in this house as I please--by the way, is he here? Yes, but sleeping right now, and I don't think he wishes to be disturbed, says Barnabas. The clock strikes; Barnabas looks at it. If you will forgive me, says Barnabas, I'd like to get some rest myself. By all means, says Stokes, do give my regards to old Will, won't you? I certainly will, says Barnabas, following Stokes to the door.

Lab - Cyrus and Sabrina are arguing.  Cyrus, she asks, what's wrong?--something must be happening to you--we haven't seen each other for days, and I don't know if we're still engaged--is there someone else? Do you want me to answer that? he asks. No, she says, because it's too stupid--it is stupid, isn't it?--please answer me!  A knock at the door interrupts them.  Sabrina reluctantly, she goes to answer it. It's Maggie.  Cyrus looks shell-shocked as Sabrina invites her in.

Maggie, tears in her voice, tells Cyrus, when I told Quentin I heard the voice coming from the portrait, he said I was imagining it--but I didn't--how can I reach him? Maybe you can't, says Cyrus calculatingly--maybe you'd better just accept the fact that Quentin will always be involved with Angelique. I can't believe you mean that, says Maggie. Why not? he asks--there are other men in the world besides Quentin--isn't it possible that somewhere there's a man who can make you as happy as Quentin can?  This doesn't sound like you at all! says Maggie. Cyrus is suddenly beset by pain.  Maggie is concerned. I'm fine, he assures her.  You're ill, notes Maggie.  Cyrus quickly ushers her out, apologizing for "things I have to do in the lab"--you understand, don't you?--I'm sorry. Cyrus fights the transformation, bent over from the agony. Sabrina comes downstairs--what's wrong? she asks--no! she cries.  But it has happened
--Cyrus has turned into John Yaeger before Sabrina's eyes. "No, Cyrus!" she moans in horror, no! Yes! he says insinuatingly. Cyrus, says Sabrina, I don't believe it, it's not true!.  The name is Yaeger, he reminds her--John Yaeger. The experiment, realizes Sabrina, the compound. A success beyond my wildest dreams! he chuckles, advancing on her, laughing.

Yaeger changes into one of his snazzy outfits. Sabrina begs "Cyrus", don't go--I love you no matter what happens--please, I understand. YOU understand? he sneers, grabbing her arm--you couldn't possibly understand. Maggie comes to the top of the stairs--Cyrus, are you still down there? she calls. Yaeger grabs hold of Sabrina, hurting her--find out what Maggie wants, he commands.  Yaeger hides behind the brick chimney. Maggie follows Sabrina downstairs--I was worried about Cyrus, she says, and came back to make sure he was all right...Cyrus?  No answer.  Cyrus just left by the side door, says Sabrina.  Has Cyrus has been ill today? Asks Maggie. Not that I know of, says Sabrina, why?  Because he's never behaved that way before, says Maggie, the way he did when I was here earlier. He's been working very hard, says Sarina. The door opens.  Quentin comes downstairs, asking for Cyrus. He went to the chemist, answers Sabrina. Good, says Quentin--I'll wait for him. It might be some time, warns Sabrina--he was going to wait there until they made up this compound for him--why don't you two go upstairs; I'll be up shortly. What's the matter with you? asks Quentin--what are you so nervous about?  Nothing, she assures him. Yaeger listens closely, looking much like the Bogey Man. Quentin asks Maggie what, what are you doing here?  Maggie, on the defensive, doesn't answer. Quentin turns to look at Sabrina, who looks back, then down. All right, what's going on? demands Quentin--you two know something I don't, which one of you is going to tell me?  Maggie volunteers--I came here to talk to Cyrus about my experience in Angelique's room--I had hoped he would talk to you and try to convince you it really happened. Angry again, Quentin says, I thought we'd discussed that subject last night. How can I forget it? asks Maggie--it really did happen, and sooner or later you'll have to accept it. Accept it? he asks incredulously--I don't even consider it worth talking about!  He stalks upstairs, Maggie following, urging him to wait. Yaeger, his face bathed in eerie light, says to himself, "Don't worry, my dearest Maggie, you won't be putting up with the likes of Quentin much longer--John Yaeger will see to that." He exits through the back door.  Sabrina calls, "Cyrus!", then, realizing it's too late, whispers, "Oh, Cyrus!"

Barnabas returns to Collinwood, where Quentin greets him in the foyer.  I've been away all day, says Barnabas, and wondered how you and Maggie got along last night. We had a long talk last night, says Quentin, and I thought she was getting better, but she has a fixation on my first voice--she thinks she heard Angelique's voice coming out of that portrait. That's unfortunate, says Barnabas. She's upstairs now, sleeping, says Quentin--perhaps after a few days' rest, she'll be all right, I don't know. Let's hope so, says Barnabas. I was just on my way to pay a visit to Dr. Longworth, says Quentin.  I'll walk part of the way with you, offers Barnabas.  Fine, says Quentin, and they depart.

Maggie lies in bed, asleep. John Yaeger has somehow entered Collinwood. He walks down the corridor leading to Maggie room, enters, and stands at the foot of her bed, salivating. "Now, John Yaeger, now!" he tells himself, and moves closer to the unsuspecting Maggie.

NOTES: Rapist in the house! Who will save Maggie from Yaeger this time--if anyone? And now that Sabrina knows about the Longworth-Yaeger connection, are her days numbered? She's all set to love this man, despite everything, and she must know he killed Horace Gladstone! We can only hope Yaeger will do away with her somehow!

And yet another brilliant characterization by Thayer David as the seedy, creepy step-daddy of Alexis and Angelique! They never go into specific details, but one assumes that the twins' mother married Stokes after the death or divorce of her husband, and she is apparently not in the picture anymore. In any event, wasn't it awful the way he didn't even hug or greet her until he learned she was Angelique, not Alexis? How awful for him to have rejected one of the girls all these years; no wonder Alexis went to find fame, fortune and acceptance abroad. His sadness over Alexis' death seemed momentary at best, and not especially sincere. But when he embraced his newly-resurrected daughter, how thrilled he was! I found it absolutely disgraceful, but we know that Angelique took after Daddy dearest, don't we?

Isn't Barnabas totally cool? He faces down a woman he knows possesses the power to return from the dead, yet he's all set to fight her for Quentin and Maggie's happiness. One must wonder why Barnabas didn't defend Maggie when Quentin told him about his wife thinking Angelique spoke to her from her portrait. Barnabas knows it's true, but is he waiting until he can expose Angelique completely? Their scene together was wonderful, so enjoyable, and I understand, even in the guise of PT, why this couple drew fans to DS then and does now.  They are such fun adversaries, no matter what.

Poor Quentin seems so tired of all the BS, but his wife cannot mention Angelique. Tell her WHY, Quentin, and be mature about it!  You've turned stalking off into an art form, buddy!

Now we have Stokes perhaps joining forces with his stepdaughter to thwart Barnabas, Yaeger about to pounce on Maggie, and Sabrina not knowing what the heck her man has been up to, but surely knowing it's no good.

This is one of those PT episodes that I did like, Sabrina notwithstanding.

Love, Robin

148
1024 - Maggie takes the ribbon off the packet and looks through them--they're letters from Quentin to Angelique, before they were married, she realizes. She puts them down on the table, then goes back and reads one: "Dearest--When I left you last night, I walked to the docks and sat staring at the sea. How incredible it is to have found you, to know that no matter how long I live, I will never want any other woman but you." In despair, Maggie gazes up at Angelique's portrait.

Sitting by the fire, working her spell, Angelique says, "You see how much he loved me, Maggie, adored me--read them all, Maggie, read them all, and then wonder what kind of a chance your marriage has got--know the truth Maggie, and know it now." Suddenly, Barnabas enters, asking "Miss Stokes", what are you doing there in the dark?  You frightened me, she says.  He apologizes. He thought he heard her talking to someone, he says. I have been caught, haven't I? she chuckles, turning on the light--you might have found out one of my deepest, darkest secrets--I love the fire, I always have, ever since I was a little girl. Didn't it ever frighten you? asks Barnabas. No, why should it? she asks. It does most children, he points out, at least at some time. I feel a kinship with it, the flames leaping, higher and higher, changing forms and design, like looking at a strange picture that's always changing--my sister Angelique could never understand me, she used to laugh at me--but then Angelique only liked people--people frightened me, I guess I was always very shy--but then when I looked into the flames, I always felt I could show my deepest feelings--I suppose I must seem very odd to you. She grins, touching her forehead self-consciously. No, says Barnabas, sitting beside her near the fire, "I understand."--where's Quentin?--I was hoping I could see him. He's not here, she says evasively. Oh, something wrong? inquires Barnabas. How perceptive you are, says Ang--he and Maggie, they've been quarreling--he has such black moods--she does mean well, but somehow, everything she tries to do goes wrong--it's so easy to see other people's problems. She rises and walks away from him, adding, it's so heartbreaking when two people who need each other so much just keep missing and running into trouble. Barnabas rubs his chin, gazing at her speculatively.

Back in Angelique's shrine, er, room, Maggie's reading a letter in which Quentin talks about how beautiful the baby looks through the hospital window--I understands now why I wanted a girl so desperately, so she could grow up looking exactly like you. (A daughter? What daughter? Don't they only have Daniel?--is this a big blooper?)

Quentin enters the drawing room--it's good there's company, he says--I need it--Barnabas do you feel bright and amusing?--"Entertain me with your adventures, I just spent the evening staring at the ocean, thinking of the past and present, I need cheering up, I thought tonight was going to be one of solitude, as usual, I'm wrong, I wonder where I got the idea than an hour alone would solve all of life's problems." He pours himself a drink. Angelique is smiling.  Where's Maggie? asks Quentin. She's gone upstairs, says Ang. Ah, the sleep of the innocent, remarks Quentin. I don't think Maggie is sleeping, says Ang--she was very worried about you. Barnabas holds onto the arm of the sofa in which Angelique is sitting. Perhaps you should reassure her you're all right, suggests Barnabas. Would that be true? asks Quentin. Angelique rises from the sofa--what is wrong? she asks. Oh, you don't know what tonight is, says Quentin--but then no one does. I guess I'll go get the bride and tell her the spouse has returned. He leaves. Barnabas and Angelique look at each other, concerned.

Maggie is still reading the letters--this is Quentin's last before leaving Boston--My dearest, I know now that I will never be able to love another woman, ever, if something should happen to you, I would be haunted by my memories all of my life. From the doorway, an angry Quentin says, "Does that interest you, Maggie?" She turns, caught. Quentin is looking at her with fury etched on his face.

Quentin takes the letters from the table--I've been completely wrong about you, too, he says--I was just talking about your innocence downstairs. Quentin, no! she cries, please listen to me. Obviously that innocence was something my deranged mind invented, he says. Innocence isn't the subject, says Maggie. What about trust or love? he asks.  Love is something we should talk about, she agrees. Obviously, we have different ideas about it, he says, holding up the letters, then dropping them to the table--now go to your room!  Quentin, it's our room, too, she protests (that's all she has to say)? MAGGIE, GO! he commands, as if ordering a dog. Not until you listen to me, she insists. Maggie, he says, you couldn't bear it, you came here and pried. That isn't true, she says, I had a dream! He turns away with a bitter chuckle. I did, I know it sounds crazy, but I did, she insists. Yes, even to me, he says--tell another story!  Believe me! she begs--how did I know there was a secret drawer in this table? You saw it in your dream, he says sarcastically. Yes, she says, I didn't know what I would find in there. But you knew how to open the drawer, he accuses. But that was in the dream, she says. Quite a talent you have going for you there, he says. Please believe me, she cries. Do you think that what has gone on in this house has made me so deranged I'll accept your outrageous lies? he demands.  She presses--how do you think I knew about this drawer? Curiosity, he says. How do you think I knew how to open it? she asks again. Obviously, you looked in her diary, accuses Quentin. I did not! she bleats. I'm positive you looked through every drawer and shelf in this room, he says. I didn't, she insists. Quentin reminds her--I hate you being in here. I'm sorry, she says.  Then why are you here? he demands. I want to understand you, she says softly.
I thought you did understand me, before we came to this house, he says, perplexed, before we got married--obviously, I was wrong. Holding one of the letters, Maggie says, please... Get out of here, he orders. I did it for you, she says.  Get out, he says again.  She does. Quentin stares sorrowfully at the letters on the table.

Barnabas and Angelique are playing chess in the drawing room. I understand you're a sculptress, he says. I am, she says--call me Alexis, please.  Alexis, he repeats, making a move--did you bring any of your work?--I'd be fascinated to see it. No, I left it all in my studio in Italy, she says. Have you  done any work since you've been here? he asks. No, she says. Isn't that unusual? he asks.
She makes another move, ousting one of his pieces from the board--I thought I needed a vacation, she says. Do you plan to start again? he asks. I suppose I will, eventually, she says. He makes another move and asks, have you had a showing at any gallery in New York? No, I haven't, she says, then adds, "Check", smiling at him with triumph. Liz enters, complaining. I should never, ever try to give a party--Alexis, help me--14 people haven't RSVP'd, something must have happened to their invitations. Barnabas rises from his chair, showing respect for Liz, who says, I'm not good at arranging things--Angelique always did it so brilliantly. I'll be happy to go through the list with her again, Angelique promises.  I so want this to be a success for Maggie's sake, says Liz. As the ladies huddle on the sofa, Barnabas sits back down at the chessboard, picks up a piece, and appears deep in thought.

Maggie is lying in the dark  on her bed when the lights come on. She blinks at the blinding assault. Quentin enters.  I'm trying to think of something to say that will enable us to be together, she says. Then I think we had better forget about what happened earlier, he advises, sitting on the bed. Can you? she asks--I don't think I can. If you don't, we'll simply go on quarreling, Maggie, he says. I don't want that, either, she agrees--I think we'll have to begin by being more open with each other. Are you talking about yourself or me? he asks (ouch!) You, she says.  You still haven't admitted to me that you lied about the dream, he reminds her. But I didn't! she cries. He looks away from her. We're back to where they started, says Maggie--I don't want that--I know you've been upset today. With reason, he says. I know today is the anniversary of your marriage to Angelique, she says. I don't want to discuss that! he says angrily. I also know, she says, that tomorrow's party started out as an anniversary party... He stands--we aren't going to talk about it, that's all! He insists--and stomps from the room, slamming the door behind him. Quentin! she pleads, don't leave me!

Quentin enters the drawing room and announces to Liz, Angelique and Barnabas, I want this party canceled!  Liz looks at him--I can't, she says, it's tomorrow. You must, insists Quentin. What can I say? asks Liz. It's too late, chimes in Angelique. I won't have it, says Quentin.  Liz appeals to Barnabas for help. I won't have it, Elizabeth, says Quentin, and stalks out. Go after him, Barnabas, urges Liz--see what's wrong. I'm not sure I'm the one, says Barnabas, as the front door opens and closes. He'll be rational with you, says Liz.  Barnabas dutifully goes to the front door, which is left open--but we hear Quentin's car take off. Barnabas closes the door. Maggie comes downstairs, moaning, "He's gone?" Yes, responds Barnabas sadly. Maggie clings to the banister.  Let me help you, says Barnabas I don't think anyone can, the young woman says helplessly, no one.

Collinwood - the next day - Maggie opens the window and looks out, her eyes sad. Hoffman, carrying a bouquet of flowers in a vase, enters the drawing room and sets it down on a table. She goes to Maggie and asks, have you chosen your costume yet?  No, not yet, says Maggie. I suggest you think about it, says Hoffman--Miss Stokes has gotten a trunk from the attic, there are some very elegant gowns there, I'm sure you can find something. The ball has always been a costume party, says Maggie--do you know why?  Hoffman smiles and relates, the first Mrs. Collins loved costumes (Maggie sighs in annoyance); it became a tradition. Everything she did seems to have survived, says Maggie sourly.  Hoffman goes on, grinning, and says, Angelique looked forward to this so much. Quentin returns home and asks Hoffman, how are things going for tonight?  Maggie looks hopefully at him. Very well, says Hoffman--Mrs. Stoddard is trying to calm Cook's nerves. Quentin chuckles. He meets Maggie in the drawing room and says "hello." Did you have a busy day? she asks. Oh, so-so, he responds. They are very awkward with each other. Quentin pours himself a drink. I guess I was asleep when you came home last night, she says--you must have gotten up very early. Yes, says Quentin. Elizabeth says you wanted to cancel the party, she notes. Maggie...he says warningly--I decided I'd just try and live with it. Really, she says, I think we should discuss... He stops her again--we are going to try and have a nice evening, he says, forget about what happened--it never happened at all. All right, she agrees. Liz enters brandishing a bottle of sherry.  How are Cook's nerves are holding up? asks Quentin. Very well, with the help of the sherry, says Liz, laughing. The clock chimes.  I must get dressed, says Quentin--you should, too, Maggie. He leaves. I understand, Maggie, says Liz, you haven't decided what you're going to wear--really, Maggie! I suppose Angelique always knew weeks in advance, says Maggie resignedly. Go to Alexis and check what she brought down from the attic, advises Liz--I'm sure you'll find something that suits you. Maggie, smiling finally, thanks her and leaves..

In her room, Angelique holds what looks like a wedding gown against herself, admiring her reflection in the mirror as Hoffman stands by. "I remember coming down the stairs in this," she says, "and Bruno began to applaud--how melodramatic he is, Bruno should have been a character in an opera."  I was watching Quentin, muses Hoffman--how beautiful he thought you looked--only a year ago. It suited me then, says Ang. It suits you now, says Hoffman. No, not now, says Angelique, putting the dress down, tonight, I will wear this--and holds a lavender gown against herself.  Angelique looks at Hoffman's watch--it's getting late, she observes--are you sure Maggie is going to come?  Positive, says Hoffman.  I hate leaving things to chance, complains Angelique. Mrs. Stoddard told her to, points out Hoffman. Chance and Mrs. Stoddard are identical twins, remarks Ang. There's a knock at the door. Come in! calls Angelique.  When Maggie enters, Angelique is holding the lavender gown against herself, asking Hoffman--do you think I should wear this one?--do you think the color suits me?--what do you think, Maggie?  I think it's very pretty, says Maggie.  Then I'll wear it, says Ang, handing it to Hoffman. You have so many dresses here, observes Maggie. Have you chosen one yet? asks Angelique. Not yet, says Maggie. Please help yourself, there are some beautiful things, encourages Angelique. Hoffman smiles--may I be excused?--I have things to attend to downstairs. Yes, and thanks so much, says Ang.
After Hoffman leaves, Angelique tells Maggie, Hoffman really is invaluable--she ironed everything in the trunk, so you can wear what you like. I don't really care that much, says Maggie. But you must, protests Angelique, you'll be meeting some of these people for the very first time tonight. I think I'd rather wear my own clothes, says Maggie. Darling, you can't, it's always been a costume party, Ang reminds her. Yes, I know, says Maggie with irony. Ang hands Maggie an orange gown--how do you like this? she asks. Maggie holds it against herself and looks in the mirror.  It's all wrong, insists Ang.  Do you think so?--I think it's rather pretty, comments Maggie. I'll find something better, says Ang. Were you ever in the states after Quentin married Angelique? asks Maggie. Of course, says Ang.  Did you ever attend one of these parties? Maggie asks. No, says "Alexis"--Angelique would never have asked me. Why not? asks Maggie. Actually, says Ang, we didn't get on, and she didn't like having other women around, especially one that looked exactly like her. She picks up the gown she intended for Maggie.  It's pretty, says the latter.  I'm not sure it's right for you, says Ang--perhaps it is. Maggie holds that gown against herself--I like it, she says.  You should wear it, says Angelique. I wonder how many beautiful women wore this dress? Muses Maggie. You will wear it as they did, flatters Angelique. Maggie thanks her, a huge grin on her face. Angelique is smiling, too, a nasty grin.

We see Barnabas' portrait, then, standing in front of it, the man himself, dressed in his own 18th century clothes. How handsome you look, praises Liz--this period really suits you--I don't realize why men don't see how much more dashing they look in these clothes--would you recognize him? asks Liz, pointing to Quentin. Of course he would, jokes Quentin--the face conquers the period--he shakes Barnabas' hand and says, I'm glad you could come--have a glass of champagne, I'm determined this evening be successful. Angelique starts down the stairs. What a perfect choice! opines Liz. Isn't it? agrees Barnabas, meeting her at the foot of the stairs--the period becomes you, too. Thank you, says Angelique, but wait until you see Maggie. When is she coming down? asks Quentin. You're becoming difficult, says Liz--you promised you'd be easy with her. Quentin denies being difficult--I just want her down here--this is her party. I'll go see if she needs some help, volunteers Liz.  Quentin helps himself to a drink.  Here she is now, announces Angelique.  Maggie, you look lovely, compliments Barnabas--the dress is perfect on you--stay where you are.  Barnabas goes into the drawing room and leads Quentin out to the foyer--"come see your lovely wife."  (Maggie, in a sparkling tiara and diamonds around her throat, does look stunning.) Quentin takes one look at his wife.  "Maggie!" he barks sharply  "Do you like it?" she asks hopefully. "That dress," he says, horrified, "you can't wear it
--you can never wear it, now get it off--GET IT OFF!!"  Furious, he tosses his drink to the floor and exits the house. Maggie cries out, not understanding what she did wrong. Angelique, turned away from Maggie, is grinning; Barnabas looks up at the distraught young woman and doesn't know what to think.

NOTES: Angelique is such a bitch, and she and Hoffman led Maggie to that gown like a lamb to the slaughter! Of course, we know she's campaigning to do away with her rival, permanently, but she's just playing such nasty head games with both Quentin and Maggie. Too bad neither is on the ball enough to realize it--but one senses Barnabas has a suspicion.

Loved the chess game in the drawing room between Barnabas and Angelique. It's fun to watch our DS characters doing something as mundane as this, but we know when she calls "Check," she thinks she's putting something over on him. This battle gets very interesting.

One thing that always annoyed me about this storyline was that Quentin never TALKED to Maggie, or explained anything, he just ordered her around, threw drinks all over the place and behaved like a total boor.  Why not take her aside and TELL her, calmly, why he didn't want her wearing that gown? He wasn't anything like the fully-fleshed, three-dimensional character in 1897, and this pale reflection of that man was a travesty. Quentin here was not likable at all, and woefully underdeveloped.

Also, if this doesn't expose Angelique as herself, I don't know what will. She set a trap for Maggie, and unless the latter is totally clueless, she will at least realize "Alexis" isn't the pal she seems to be--unless she totally blames Hoffman for this one, a good possibility.

Were those love letters from Quentin to Angelique real, I wonder? I guess he loved Angelique when they were first married, but that's ancient history, and why Maggie can't sense that he no longer feels that way, I just don't know; she apparently has self-esteem issues.

Always loved Barnabas in his 18th century period costume, too--he was hot!


1025 - Maggie leans wearily against the wall near the drawing room window, still in her party finery. The event has already taken place--glasses, napkins and other debris are scattered all over. I assume Curtis was too cheap to show us any of the party or spring for extras for party guests. Hall's intro tells us that Quentin never came back for the party, forcing Maggie to bear up alone.

Roger enters the drawing room and asks Maggie, are you waiting up for Quentin?--"I wouldn't if I were you. Frankly," he says nastily, "pouring himself a drink, "the party would have been a disaster even if the host had been here--not like last year, ahh, last year there was laughter in the house, and in the room, genuine laughter, not the forced, uncomfortable sounds we heard tonight."  Annoyed, Maggie starts to quietly trail out of the room.  Take that dress off, advises Roger--it doesn't suit you--but then you know that, don't you?--you must have learned a lesson, no one can take Angelique's place, you know that--no one. He cruelly laughs at the departing Maggie.

Maggie goes to her room and falls onto her unmade bed, then turns on the light and gazes at Quentin's picture (actually a nice black and white shot of Selby in 1897 Quentin sideburns). She rises from the bed, miserable, and removes the tiara from her hair, with difficulty. Angelique knocks at her door. I'm changing! calls Maggie, behind the screen now. Angelique, wearing red velvet, enters.  I'm so sorry, Maggie, she says--I had no idea when I showed you that dress that it was the one Angelique wore to the party last year--what an awful mistake--I blame myself completely. You had no way of knowing, says Maggie, clad now in a nightgown, removing her glittering necklace. I'm so glad you understand, says Angelique, when Hoffman brought that trunk down, it was filled with all those old clothes, I simply chose mine. Hoffman did know what Angelique wore last year, says Maggie. That's right, she did, didn't she? asks Angelique. It isn't the first time she's hurt me, says Maggie. She wasn't in the room when I showed you the dress, remember? asks Angelique. Yes, says Maggie, that's true. You can't blame her, insists Ang, I don't think she'd put that dress in there deliberately, if Hoffman had wanted to engineer a plot, she wouldn't have left so much to chance--I know you want to blame somebody, I would, too, but I really believe it was just one of those unfortunate accidents. Yes, says Maggie.  I intend to tell Quentin about the whole thing as soon as I see him, says Ang. No, insists Maggie. But I want to! says Ang, I can't have him angry at you about something I did--he's much too difficult a person anyway!  Maggie walks to the French doors and heads outside. Angelique pursues her--I didn't mean to sound disloyal, she says, I'm very fond of Quentin--genuinely fond!--he really didn't have any right to run from the house like that. Alexis, please, says Maggie. I'm sorry for you, says Ang, going on with that party, trying to be nice to everyone, pretending nothing had happened. It's probably well that I did do that, says Maggie--if I'd stopped to think, I might not have been able to go through with it.  I'm sure no one had any idea anything was wrong, says Ang--it was very clever of you to say Quentin had suddenly taken ill. What else could I say? asks Maggie despairingly. All I mean is, if I'd been in your position, says Ang, I'd never have been able to carry it off. Roger says I didn't, says Maggie. "Roger!" says Angelique, her voice filled with disgust.  Maggie continues--Roger said the whole evening was a fiasco and SHE, Angelique, wouldn't have carried it off so badly--what hold did she have over these people?  I don't know, replies Angelique. You must, you're her sister! insists Maggie. She never had any hold over me, the other woman says--we were too different--she enchanted everyone, I resented that; besides, there's no reason to talk about Angelique. Yes there is, says Maggie, because wherever Quentin is, that's what he's thinking about--where could he go, dressed in that costume? Probably down on the beach, staring into the waves, says Ang, almost without thinking.  How do you know that? asks Maggie sharply. What? Angelique asks? I'm sure you're right, that's where he is, says Maggie--I found a letter Quentin wrote to Angelique, and in it, he spoke of staring at the sea for hours, listening to the waves--why doesn't he come back? He will, Ang assures her. What will I do when he does come back? asks Maggie. You'll know what to do, says Angelique--because you love him--and because you want to make his life happier and simpler than it is now. I'm not  sure I can do that anymore, says Maggie, walking toward the photo on the night table--I'm just not sure of it at all.

Back in Angelique's room, Hoffman, folding Maggie's gown, is chortling to Angelique, how clever you are, and how typical that Maggie would try to blame me for the dress--if you hadn't talked to her, she probably would have gone to Mr. Collins, and there would have been another scene--when he comes back, everything...  Angelique interrupts--you will play the martyr again, Hoffman, says Ang--hurt, trying not to show it. They smile together.  I almost felt sorry for her, says Hoffman. Well, don't, says Ang cruelly--if Maggie thinks this night was hell for her, then you can imagine what it was like for me--a guest in my own home, forced to witness that fiasco of a party. When you had done it so brilliantly, agrees Hoffman. Angelique goes on, complaining of "the agony of seeing all my friends doing their best to make Maggie at ease."  But next year, says Hoffman... "Next year, I shall be hostess again, and it shall be MY party again!" gloats Angelique. (I thought she planned to make Quentin as she is.) They hear footsteps. Quentin, guesses Hoffman--your old room--whoever it is has gone into your old room! They look at each other and smile.

The ladies are wrong--Roger, dressed as Joshua, has brought up a bottle of champagne and a glass to Angelique's room. He holds up his glass to the portrait in a toast--"I feel your presence here so strongly it almost frightens me--how different it is from last year--we met in this room after the party, sharing the last of the champagne, laughing over the idiocies we'd seen, the conversations we'd heard--tonight I kept looking for you, waiting for you to come down those stairs--why do I feel this way? If you were here, that you made Maggie wear that dress--you would have done that, I know--I know you so well--is your spirit still here, and if it is, what else are you going to do? What else? What else?
Standing in the doorway, grinning, is Angelique herself, smiling at Roger, who turns and sees her.

Alexis, says Roger, you're the reason I think Angelique is in this house--"You--watching you tonight, it's as if the last six months have not happened--for an instant, I thought that she was not dead."  But you know she is, says Ang. How well I know, laments Roger, even if I didn't have the current Mrs. Collins to remind me. They sit together on the window seat.  You've done so many favors for Angelique, she says--will you do one for me now?--find Quentin. Roger laughs derisively. No, I'm serious, she says. If Angelique had been here, says Roger, Quentin would not have left; if he had by some chance, he'd have returned by now, begging her forgiveness. She smiles at him--Maggie needs him so much, she says. I'm not interested in her needs, sneers Roger--perhaps she's learned something, I hope--that she can't go on staying here. She'll never leave, says Angelique. Quentin doesn't want her here! insists Roger. Ang asks, eagerly, "Did he tell you that?"  He didn't need to, says Roger, you could tell it in his face whenever he looked at her, comparing her with Angelique--like a mouse as opposed to a sable (Angelique smiles); Maggie's presence embarrasses him--he wouldn't admit it at first, but I know he'd be relieved if she left. Surely he'd grieve, says Ang. Only in front of those who expected him to, says Roger. Oh, Roger, you are cruel, even where Quentin is concerned, she says. I'm just realistic, insists Roger, as you would be if you'd known me as long as he has--I saw him grow up, saw him with Angelique; I know him better than anyone alive--and so, my dear Alexis, I'm not going to ask Quentin to come back, I'm going to wait for him to come back, which is what you should do--if you have any sense. She grins as Roger leaves the room, then goes to the window and looks out.

Maggie sits in the drawing room, wondering, why hasn't Quentin come back?--he must realize how terrible this is for me...is he so obsessed with Angelique that I don't matter at all? The front door opens; we see only legs--it's Roger, and Maggie is disappointed. Still waiting up? he asks, the champagne glass still in his hand--"That's bad form, you know. Most husbands don't like their wives sitting up waiting for them, especially..."  Good night, she says angrily.  Roger goes on--"Especially in a marriage like this!"  You don't know anything about my marriage, she says.
Don't forget, he says, I lived through the last one in this house, so I know--by comparison. You're drunk, she accuses distastefully. I'm usually a little more perceptive when I am, he says. You've been against me ever since I came to this house, Roger, she says, and Quentin doesn't listen to you, and neither will I. He may not listen, but he thinks as I do, says Roger--how little you know him--how very little you know him! he shouts after the departing Maggie.

Study - "You can't do that, now don't even think of it," insists Hoffman to Angelique.  I want to take the chance, says Angelique. It is insane, states Hoffman--your first plan is working, Quentin and Maggie have separated, keep on with that plan--he will begin to be finished with her. Roger thinks he already is, says Angelique. Roger is a fool, opines Hoffman.  No he isn't, not always, says Ang, I know him better than you do. It's a mistake, persists Hoffman. No, says Ang, you're wrong, it's the perfect time, there will never be a situation like this again--Maggie is ready, she has all her reasons--Quentin is disenchanted with her. I'll have nothing to do with it, sayws Hoffman firmly. You think after all this time you can walk out on me? asks Ang--"You'll do as I tell you to, Julia!"  Angelique picks up the phone and dials...

Maggie answers the phone, sure it's Quentin, but all she hears is a woman's laughter. Who is this? demands Maggie, Alexis?. . .no!  She hands up, wondering what that meant--who would do that? You know very well who--someone who was at the party--why did it sound like Alexis? The  phone rings again and she again answers, thinking it's Quentin. But it's Angelique's laughter.  Who is this? demands Maggie--stop it!  She finally puts the phone down, leaving it off the hook, but the cruel laughter goes on...

Maggie goes to Alexis' room, but finds her in bed, her phone on the hook. Maggie stares at the phone. Angelique gets out of bed and asks, are you all right? Yes, answers Maggie. Angelique touches her hand, noting, you're trembling--something's wrong, tell me what it is. The telephone...begins Maggie.  Quentin called! guesses Angelique. No, says Maggie, I thought it was Quentin, but when I answered, it was a woman, and she was laughing and laughing!  Maggie, no! protests Ang. Then she called again, explains Maggie. You don't have any idea who it was? asks Angelique. Maggie stares at her.  Who was it? Ang asks again--"Darling, you can tell me, I'm your friend." I know it wasn't you, says Maggie, but... "The voice sounded like mine?" asks Angelique.  Yes, says Maggie--I know that sounds ridiculous, but it wasn't my imagination! Upset, Angelique says, my sister and I had exactly the same voice--if you were in another room, you could never tell our voices apart. Angelique is dead! protests Maggie. But I've heard of voices from the dead, says Ang. I don't believe that! Maggie insists. It's the telephone, the telephone, says Ang, that's what's so curious--Maggie, I'm going back to your room with you. No, says Maggie. I don't want you to be alone, says Ang. Maggie backs away from her and says, I want to be alone when Quentin gets back--she runs from the room. Angelique grins with satisfaction.

Midnight - Hoffman comes downstairs at Collinwood, locks the front doors, turns out the light. She enters the party-strewn living room and begins cleaning up. Roger comes out from between the drapes, touches her arm and asks, what's the secret?  Secret? repeats Hoffman. Something has happened in this house, says Roger, since you returned from your vacation, something has happened to you. Nothing has happened, she says. You can lie to others, but not to me, Hoffman, he says. You're imagining things, she says. No I'm not, he insists
--something has happened in this house, to you--I don't like secrets, unless I'm included in them--and I will be--I will be!  She again says, I don't know what you're talking about. Fear, says Roger, I think--fear! You must excuse me, she says, I have a busy day tomorrow. She leaves.

Maggie returns to her room and hangs up the buzzing telephone. Her door bangs open; she hears Angelique's theme music playing. She leaves her room and follows the sound, finding herself outside Angelique's room. She opens the door. The piano is silent, no one playing it.  Maggie looks at it, perplexed. The music stops. Maggie, says Angelique's voice. "YOU!" cries Maggie, looking at the portrait. Maggie... says Angelique, laughing. It was you! accuses Maggie. Yes, says Angelique--I watch you, watch you all the time... Maggie starts to flee the room.   Angelique says, you can't run away from me.  "I'll stay--and I'll fight you!" swears Maggie. Fight me?--why, I've already won, says Angelique. You haven't! wails Maggie. Yes I have, says the voice--Quentin loves me, not you. No, that's not true! yells Maggie  It is, says Ang, look in the mirror, look at what you are. Maggie gazes at her reflection, with Angelique's portrait visible, too; look, says Angelique--a poor substitute! Maggie covers her face and begins to cry.  Angelique's voice goes inexorably on, calling her a gauche, awkward little girl who no one wants around here, especially Quentin! No, no! moans Maggie. Now, look at me, bids Angelique.  Maggie does so, turning back to the portrait--"You saw the disgust on Quentin's face when you came down the stairs in MY dress--he doesn't love you anymore, he can't bear the sight of you!"  Maggie covers her ears, begging, "STOP IT! STOP IT!"  Angelique doesn't let up, adding, that's why he wants you out of the house--now he knows the mistake he made!  Maggie tries to leave, but the doors close, barring he exit; she continues to scream, as Angelique says, without Quentin's love, there is nothing for you to live for anymore, is there?--the window, Maggie, go to the window.
The window opens by itself. Look down, says Angelique.  Maggie does. It would be so easy, says Ang, to end everything--all the suffering--go on, Maggie, let go, let go and fall, there's nothing for you to live for without Quentin's love, nothing to live for when he has shut you out of his heart--let go, Maggie, let go!  Maggie, standing in the window, her nightgown billowing in the wind, prepares to do just that...

NOTES: I thought all Angelique wanted to do was split up Quentin and Maggie, but it looks like she wants to kill his new bride instead. What a bitch. On the other hand, it's hard to believe someone who lived abroad, as Maggie did, someone who should have some sophistication, is acting like the terrified ingenue. She so reminds me of Vicki here, and not in a good way. I realize that it's all built up for the poor woman, but I was pleased when, at first, she appeared ready to fight back against Angelique's ghost, to keep Quentin as her husband. Now, the witch-in-training has reduced her to a hypnotized, quivering mass of suicidal misery.

I love Louis Edmonds' performance in this episode, he's so nasty and unrelenting. There's just enough difference between this Roger and RT Roger that you have to admire the nuances. Edmonds is excellent.

Hoffman actually played no part in this telephone scheme of Angelique's, why did she even say she wouldn't help her? Angelique is such a bully, one wonders why Hoffman listens to her at all, but one assumes it's love as well as fear that's holding this twosome together. Brrrr.

If I were Maggie, I'd cut Quentin loose, or at least insist on marital counseling and consult a divorce lawyer. He's way too moody, unpredictable, and that marriage is no fun. Hell, if you can't expect fun in the early years of your marriage, what have you got?

Love, Robin

149
1022 - Quentin comes running into Maggie's room. Still in the thrall of her dream, she shrilly orders him, don't touch me! Gazing at him in terror, she fully awakens and realizes who he is--I did call out to you, she says. He realizes she's trembling and asks, are you afraid of me? She throws herself into his arms--I had a terrible dream, she cries. He comforts her--it's all right, he assures her--what was it about?  It's over, she says, I'd just rather forget it. Is it something you don't want to tell me? he asks.  Of course not, she assures him, without conviction, it's just something I'd rather forget--really--it's like it never happened. Do you want me to stay with you? he asks. No, you have work to do, she says, but her eyes belie her words--I'll be all right, I'm sure. All right, he says, and leaves. She huddles against her pillow, wondering how she could think her husband could harm anyone--it was only a dream, and he could never do anything like that.

Drawing room - Angelique looks through some books piled near the booze and finds one titled THE SEVENTH LEVEL OF WITCHCRAFT. She thumbs through it, hears someone coming, puts it back and selects a different volume. Maggie enters--what are you doing up so late? she asks. I  couldn't sleep, says Ang, I came down to find something to read--and you? Nervous, Maggie says I couldn't sleep, either. Are you all right? asks Ang--you look so worried. No, I just couldn't sleep, says Maggie. She finds the table and chairs, looking much as they did in her dream, and remarks, it's the one where Angelique was killed, wasn't it? Angelique smiles. Maggie continues, Quentin was sitting here and Angelique was sitting there. Angelique smirks with delight.  And just before she was killed, continues Maggie, Quentin got up, went over to her and...she makes motions as if she's strangling someone, then covers her face with her hands. No, he couldn't have! cries Maggie. You're talking as if you were there at that seance, says Ang, as if you saw Quentin strangle Angelique. No, says Maggie, I had a dream, and in the dream, Quentin...he...couldn't have killed her, he couldn't. Of course he didn't, soothes Angelique--you've got to stop thinking about it. How? Maggie asks--I even dream about it--how could I dream something that actually happened, where did it come from?  I don't know, says Angelique--do any of us know where our dreams come from?  I suppose not, says Maggie--perhaps you know--why did Quentin attack Angelique that night? There was a voice that kept saying something about Angelique and Bruno, Angelique explains
--everyone knew it wasn't true, everyone knew Angelique was devoted to Quentin, but Quentin loved her with a love that drove him insane--even the idea of her with Bruno made him almost mad--if he'd loved her less, perhaps...I really shouldn't talk about it, Maggie--Quentin didn't kill Angelique, he loved her far too much...oh, I am sorry, I shouldn't have said those things to you--I hope you'll forgive me, I was just trying to convince you...  No, it's all right, Maggie assures her, I understand. Why didn't you stop me? asks Ang. Why should I stop you? counters Maggie, you were telling the truth. About to cry, Maggie hurries from the room. Angelique grins.

9 AM - Angelique sits by the fire, staring into it. Quentin opens the mail, angrily discarding letters.  He finally picks several up and, furious, tells Angelique, I told Liz I didn't want a costume ball held this year--and what does she do but send out invitations, and everyone is accepting!  It's partly my fault, I'm afraid, admits Ang--I helped Liz with it. Chastened, Quentin says. Liz knows there's trouble enough about here. All the more reason I said we should have the ball, says Angelique, everyone looks forward to it so much (how would ALEXIS know that?), and besides, Liz thought it the perfect time for Maggie to meet all your friends. I'm not so sure Maggie is up to that, says Quentin--she's had trouble enough, and a party now is absurd! He tosses some of the acceptances onto the table and stalks out. Angelique picks them up, grinning, looking after him.

Cyrus' lab - The doctor tells Maggie, firmly, Angelique was not murdered--she died of a stroke, I signed the death certificate myself! Upset, crying, Maggie doesn't respond, but finally says it's just frightening--I don't know who to believe anymore. You should at least believe me, says Cyrus. She apologizes--of course I do, she says. I hate to see you this upset, he says. I'll be all right, really, she assures him. He takes her hand and says, I missed you so much--I just wish there were more I could do. Just talking to you has done more good than you could imagine, she says--I do believe you. He finally releases her hand and says, I'm glad to hear it. I wonder, she says, if you know how kind you really are. (What's this, the doctor has a crush on Maggie?) She thanks him again.  You're welcome, he says--and don't hesitate to come back here and visit me if there's more I can do--will you? Their faces are romantically tilted as she promises, I will, smiles, and thanks him again.
Seeing the intense way he's staring at her, she asks, is there something wrong? No, he replies--sorry, just me, absent-minded Cyrus Longworth, staring at something he doesn't even know he's staring at--sorry. She thanks him again and leaves. He realizes she left behind her gloves and holds them, then rubs them orgasmically against his face. (Oh, boy, this man has it bad--where is fiancee Sabrina?)

Lab - We see the cute little lab animals in their cages. Cyrus looks through a microscope. You're always working and I'm always interrupting you, says Buffie--listen here, when I get something on my mind, I can't get it off--I mean not until I've settled it, at least--you know where John Yaeger is. I'm afraid I don't, insists Cyrus. You know a lot more than you're letting on, she says, and for some reason won't tell me--you must think I'm a fool--what kind of work could Yaeger do for you?--if he picked up a test tube, he'd break it. Cyrus finally raises his head from the microscope and looks at her, calling he "Miss Harrington." You used to call me Buffie, she reminds him (when)?  Whatever association I had with Yaeger is strictly between us, says Cyrus. Buffie pursues--no it's not--you know what I think?--I guessed what he does for you--he LIVES! WHAT? demands Cyrus. Yes, he lives while you work, says Buffie--he's having a ball while you're making pretty colors in those test tubes. Provocatively, moving closer to him, she says you wouldn't need Yaeger if you'd just let yourself go--come on, she says, slipping her arms around him, try. He moves away--no thanks, Miss Harrington, he says coolly. Miss Harrington again, no thanks, she says, picking up Maggie's gloves and adding bitterly, "You wouldn't have said that to the person who left these, would you?" He ruses over to grab the gloves from her--put them down! he orders.  Why, who do they belong to? she asks. Mrs. Collins, he says. Oh, she visiting you? asks Buffie. She just dropped by, says Cyrus. You don't have to get so defensive about it, she says--funny, I knew her when she was growing up here, before they moved--she comes back here, marries Quentin Collins, and I meet John Yaeger. Did you know her well when she was a child? asks Cyrus. I always knew she'd be someone special, so bright, so pretty, so ladylike, says Buffie with more bitterness. She looks at her reflection in the mirror and says, I bet when she looks in the mirror before she goes to bed, she doesn't hate herself--and there, Dr. Longworth, you have a vital clue to Miss Buffie Harrington, who is no lady at all!--John Yaeger tried to turn me into a lady. She unfastens a necklace at the back of her neck and holds up a string of pearls. Yaeger gave me these, she says, I thought he was kidding, first time I wore them, he grabbed them and broke the string--I just had them re-strung--only I'll never be a lady, you reminded me of that--give them back to him when you see them--"I'll stay in my league, let Maggie Collins stay in hers." She hands them back and leaves, obviously pissed off. Cyrus gazes at the gloves in one hand, the string of pearls in the other, looking all gooey-eyed.

Unfortunately, Quentin finds Maggie reading THE SEVENTH LEVEL OF WITHCRAFT.  Have you seen Elizabeth? He asks. I think she's in town for the day, replies Maggie. Coward--she's probably hiding from me, he says sourly. What are you talking about? she asks.  He briefly mentions the costume ball, but when she asks for details, refuses to elaborate. Are you reading "this"? he asks.  Yes, says Maggie.  He takes it away--you can stop it right now, insists Quentin--I told you time and time again I want this subject ignored and forgotten.  How can it be? she asks, considering everything that's been happening around here lately--the way you suddenly got ill, then suddenly recovered, and everything else that's been happening around here.
I want this obsession with the occult ended, once and for all, says Quentin, and I mean it! He stalks from the room.  Maggie watches, resigned. She answers the door to find Cyrus, and warmly invites him in. He returns her gloves.  That was very dear of you, very thoughtful, she gushes--I can't tell you how much I appreciate it--she squeezes his arm to show just how appreciative.  He closes his eyes as if she'd caressed him in an intimate spot, then blathers, I was just driving by. Can you stay a while? She asks.  I'd better not, says Cyrus--I have so much to do.  As usual, she teases, thank you, anyway--good night. He goes. She places her gloves on the foyer table and looks longingly upstairs.

4:30 - Cyrus' lab - He returns and quickly starts to open the safe. No, I mustn't, he cautions himself, I know I mustn't--she's Quentin's wife, Quentin's my best friend, has been all my life! Buffie's right--so soft, so quiet, so special! What did Yaeger achieve with Buffie--nothing at all!--but with Maggie...no, I wouldn't do it, there have to be limits, even for John Yaeger! No, there are no limits for Yaeger, he would never give in so easily, never keep saying, over and over, no, no, no--his word is yes, nothing stands in his way--nothing! He opens the safe, takes out the potion and swiftly downs it.  Immediately, he is beset by the pain.

Collinwood foyer - Maggie answers the phone.  We've never met, says John Yaeger, but I thought it would be valuable for us to introduce ourselves to each other. (he sounds like a dirty phone call!)  Who are you? she asks.  I heard you have an interest in knowing the exact details of what happened at a certain seance, hints Yaeger. Please tell me who this is? she repeats. As a matter of fact, he continues inexorably, I understand there were two seances that interested you. I'm sorry, says Maggie, but unless you tell me who this is... Please, Mrs. Collins, he says, isn't this an opportunity you've been waiting for?  No, she says, the seances are no longer of any interest to me. Perhaps, but if that isn't the case, you can meet me at the docks, at six o'clock sharp, he says. The docks, she says, I have no intention... Would you rather go to a place where we can be seen and overheard? he asks--six o'clock, Mrs. Collins--the docks.

Later, awaiting Maggie, Yaeger is spotted by Buffie, who says, "Look who's back." If it isn't Miss Harrington, he says, do you always walk the streets this late at night alone?  I was on my way to the Eagle and saw you walk down here, she says. Now that you've satisfied your curiosity, he says, I expect you're eager to continue on your way.  Angry, she says, I certainly am, and starts to leave. Thank you for returning the necklace, he says--now I know what a mistake it was to give it to a person such as you. I didn't want it anyway, she says.  Of course, he sneers, it wasn't cheap enough or vulgar enough for you, was it?--well, I tried to make a lady out of you, but I  reluctantly concede my defeat. Without another word, she walks away.  He giggles, pleased that he hurt her. Maggie appears, looks at him, turns away.  Well, he says, Mrs. Collins, good evening. Are you the gentleman who called me? she asks. At your service, he says. Who are you? she asks. Your friend, Mrs. Collins, he says, your friend. Please tell me what you have to tell me, she says. Yes, I'll tell you, he says, I was only going to say that I find you inescapably charming. Oh, in that case, good night, she says curtly.  Yaeger stops her with two words: "Your husband." He continues, speaking into her ear,  "Your husband was seen choking his wife at that seance." Go on, she says. I'll go on, he says, but I hope you know I'm doing you a very big favor in giving you all this information
--I was wondering if you'd give me a favor, too." The lust in his eyes leaves Maggie no doubt what he's after, and she tries to run.  He grabs her, covers her mouth, drowning out her screams. Speaking against his hand, she orders, let go of me! Holding her body pressed against his, he says, looking as orgasmic as Cyrus did when fondling her gloves, "Soon enough, Mrs. Collins, soon enough!" And locked together, they struggle.

NOTES: What's this? Cyrus has suddenly developed a crush on Maggie? When? Why? He was so cold to Buffie, and he actually went to see her a couple of episodes ago, intending...what? Does he think she's with Barnabas now? Now that lust has been transferred to Yaeger, who has Maggie in his clutches. Will he rape her? Kill her? He sure looks as if he's having a great time just holding her struggling body close to his. Cyrus, you've sent a beast to do a man's job! Perhaps Yaeger will take care of Angelique's little problem for her, by doing away with her enemy before she does it herself.

Poor Buffie, we really did get a better idea of who and what she is.  She hates herself, envies Maggie, but she has plenty on the ball herself, more than Maggie, IMHO. I suspect if Buffie were in Maggie's shoes right now, Hoffman would have been long gone, and Angelique exposed.  Buffie isn't a mealy-mouthed woman, despite the way she allowed Yaeger to treat her. Methinks they decided to go another way with Cyrus/Yaeger, and we will be shortly seeing the last of Buffie. And that's a big pity.

When did Yaeger give pearls to Buffie, and did we ever see him attempt a Henry Higgins on her and try to turn her into a lady? We mostly just saw him verbally and physically abusing her, and one wonders if Sci Fi hasn't been cutting a lot out of these episodes and taking away pertinent plot information.

I love Elizabeth Eis in this role, she's wonderful, and Pennock is doing splendidly with both Cyrus and Yaeger as he pours on the evil in one case and the nebbish in the other. Both are excellently done.

Quentin is ridiculous, taking the witchcraft book away from Maggie and ordering her not to read it anymore. Who does he think he is? I do not much like this Quentin, but I suppose I can understand his reasons for wanting to oust all hints of witchcraft from the house. Angelique must have left it around on purpose, hoping to tempt Maggie into reading it and have Quentin catch her.


1023 - Yaeger licks his lips greedily as he struggles with Maggie, and we can only imagine what he has in mind for her if he can only pin her down to the concrete.

You're so much more spirited than people say, Yaeger breathlessly praises Maggie, grabbing her face in an effort to shut her up. She's still able to cry out for help, however, so he turns her around in his arms and assures her, I'm not going to hurt you--far from it! (heh heh heh!)  Buffie appears--let her go! she shouts at Yaeger.  He does, gazing with hatred at Buffie.  Are you all right? Buffie asks Maggie. Thank goodness you're here! cries Maggie. Yaeger threateningly approaches Buffie.  I'll call the police if you take one step closer, she warns. Go ahead, he sneers, tell them all the sordid experiences, while she's here. (Wonder what went on behind closed doors between Buffie and Yaeger?)  He turns to Maggie and sarcastically says, "I'm sure she's going to love explaining what she's doing, meeting a stranger on a deserted street
--I'm sure your husband will enjoy it, too--I can't wait to hear his reaction!"  Shaking, Maggie begs, just stay away from me. Yaeger turns to Buffie and asks, have you changed your mind about going to the authorities? You heard her, leave us alone! commands Buffie. In due time, says Yaeger, now that I've met Mrs. Collins, I can't wait for a second encounter--and I promise you, you're going to enjoy our meeting--as much as Miss Harrington did. I told you before I never want to see you again, and I meant it! blares Buffie. She turns away. Did you?--I doubt it, chortles Yaeger. He buttons his coat and says, "Mrs. Collins--till we meet again." He leaves. Maggie, wanting an explanation for this horror, stares at Buffie.

Yaeger returns to the lab and takes off his coat, tossing it onto a chair (messy, too)!  He looks at his hands and says, oh, Maggie...Maggie, I touched you with these hands!
And someday (he caresses his mouth), these lips are going to touch you, too! (pretty kinky, especially for these times.)  And nobody is going to stand in my way, not even Quentin Collins--and he releases the sword from the cane to show he means business. He hears knocking at the upstairs door--the police? he wonders. Perhaps I underestimated her!  He grabs his coat and cane and goes to the back door, considering escape, but realizes they might be out there, too--I can't take the chance. I'm coming! he yells.  Frantically, he opens the safe and takes out the antidote, drinks, cries out in pain, and transforms back into Cyrus, who closes the safe and replaces the map over it. He goes upstairs--his visitor is Maggie.  I'm sorry I didn't hear you knock, he says. I never would stop by this late, she says, upset, but....What's the matter? he asks--you're frightened. Yaeger phoned me, she explains, and I did something stupid--Yaeger claimed he knew something about the seances--"You didn't tell him anything, did you?"  Of course not, Cyrus assures her. Yaeger told me if I met him, he'd tell me something I wanted to know, and when he saw me--"Is it true he's a friend of yours?"  No, protests Cyrus, he did help me with some experiments, but ever since then, I've considered him very much my enemy. I can't tell Quentin, says Maggie, I'd be too ashamed--you're the only one who can help me--get rid of John Yaeger! she begs.  Clinging to the chimney, Cyrus promises, I'll do everything possible. "Cyrus," says Maggie, crying, "do you know what he almost did?--if Miss Harrington hadn't heard my screams...it was horrible--he was holding me, and touching me, and laughing!". Cyrus feels terrible, guilty. She leans her head against the chimney.  I give you my solemn word, says Cyrus--you'll never see Yaeger again. If I could believe that...she says, going into his arms for comfort. Trust me, says Cyrus, holding her close, please trust me.
I do, she says, I trust you almost more than anybody I know. He looks as if he's in agony...Thank you, she says--good night.  She leaves. Become Yaeger and go after her! Cyrus urges himself--he'd never miss such an opportunity, why do you just stand here, you can have her, now!  He takes down the map again.

Cyrus mixes together his bubbly red brew, pouring crimson liquid into white powder. He gulps before he raises it to his lips, then stops himself--"I'm not going to do it! Maggie, I won't let Yaeger hurt you!  I remember how you looked when he tried to force you to...he's evil!  Maggie, I'm not going to let him touch you again!"  But there's Yaeger, he argues with himself--I made myself into him because that's who I want to be--Yaeger--there's no distinction between us, what Yaeger does is done by Cyrus Longworth! He gazes at himself in the mirror, saying aloud, I was the one who was so cruel to Buffie! I was the one who killed Horace Gladstone! I was the one who walked up those streets of Collinwood and I almost...he smashes the mirror with a metal pitcher, vowing, I will destroy John Yaeger forever!  He takes a metal tray and begins hammering at the equipment, breaking glass, sending liquids pouring onto the floor, screaming, "Destroy him!"  After wrecking all the test tubes and such, he puts down the tray, opens the top desk drawer and takes out his notebook, which he drops onto the tray. He covers it with something flammable and sets it alight with a match. It begins to burn.  "Now, John Yaeger is destroyed--forever!" he declares.

Roger sarcastically greets Maggie, referring to her as the mistress of Collinwood--you're just the person I wanted to see, he says. I have something to do, will you please excuse me? says Maggie.  It will only take a moment, he says--I want to express my feelings about the costume ball--I think it's in highly questionable taste, considering its traditional association. What are you talking about? asks Maggie--traditional association?  I'm not surprised, he says with irony.  I don't know what you're trying to get at, she says, but anything that has to do with the costume ball does not interest me now--do you know where Quentin is? Out, says Roger abruptly. Where? she asks. I don't know, my cousin was buried more deeply than usual in his famous mood. (I love this guy.) Why? she asks. You're his wife, you tell me, says Roger. Did it seem to have something to do with me? she asks. Nastily, Roger says, I'm afraid you flatter yourself--my cousin's mood is brought about by something that touches him more deeply than you do, I'm afraid--oh, I don't say this to be unkind, but I do have an affection for accuracy. Looking at him with annoyance, she asks, is it just your need to be cruel? (Good one, Mags!) Interpret it as you wish, invites Roger, it's one of your prerogatives as the new mistress of Collinwood.  He heads toward the kitchen and exits. From the top of the stairs, Angelique asks, "Well, what was that all about?" Just Roger being his usual friendly self, says Maggie. What did he say? asks Ang.  It's not what he said, says Maggie tiredly, it's just so many things.  Is there anything I can do? asks Ang. Perhaps you could tell me, says Maggie--come into the drawing room.  Maggie closes the doors and asks, did Angelique write you often when you were traveling, living in Florence? Not often, says Ang, but when she did write, she made up for it--why? You've seen how Quentin can be, says Maggie, his moods, so erratic--one minute he's loving and gentle and kind, the next, he's simply lost and withdrawn, as if he had some secret he was hiding, or brooding about. I've seen them, says Angelique--what do you want to know? Did Angelique ever mention in any of her letters to you if he was like that? asks Maggie. Oh, no, says Ang, she always spoke of how happy and loving he was, talked of the things they did together, what he said, all the wonderful things Quentin did for her. "Thank you, Angelique," says Maggie, stopping her, that's what I wanted to know. (Slip of the line; she should have said Alexis.)  As Maggie opens the double doors, the first Mrs. Collins reminds her how happy she and Quentin were. You know I think I could bear almost anything in this world, says Maggie, except that one thing--to be left out of Quentin's life, and I am shut out, I really am. Sadly, she leaves the room. Angelique thinks to herself, Maggie will learn more about her precious Quentin tonight, dear Maggie--"All that I choose to reveal but none of what you learn will help you--quite the opposite."  We get a close-up of her cruel eyes.

Angelique enters the partially darkened drawing room, where Roger is having a drink. Did I startle you? she asks.  For a moment, he says, I thought Angelique was standing there--forgive me, but I'll never get used to your resemblance to your sister, especially when the lights are low. "And the brandy plentiful," she remarks somewhat bitterly (and in a most Angelique-like way, I bet). Possibly, he admits. She pours herself a drink, then says I'm afraid it will take more than dim lights and a few glasses of brandy to bring Angelique back. That is true, agrees Roger. Maggie comes running in, dressed in a housecoat, and asks, has Quentin come home yet?  I don't think so, says Angelique. Roger advises Maggie, Quentin probably won't be home for some time--there are days when a man wants to be alone with his memories.   "Roger," snaps Maggie, "you always say things like that, and you never explain them."  Very well, he says, flicking his fingers against his glass so they make a ping sound--today, I shall be crystal clear--today is the anniversary of his marriage to Angelique--that has affected him, no doubt--am I still being obscure and enigmatic?  Angelique chides him, "Roger, that was cruel and unnecessary."  The lady wanted a certain piece of information, says Roger, and I simply gave it to her--and to further alleviate any anxieties you may have about your husband, I will only tell you this--I don't think he'll be back tonight--pleasant dreams--he leaves.
Maggie covers her face with her hands, miserable. Angelique asks, why did Roger do that?  Maggie bitterly replies, "Because he enjoys it!" You look tired, remarks Ang. I'm more tired than I can tell you, says Maggie. Why don't you try and get some sleep? suggests Ang. I don't think I can, says Maggie. Come on, try, says Ang, urging Maggie towards the stairs--Roger was being sarcastic, but I really mean it--pleasant dreams. Thank you, Alexis, says Maggie.

Midnight - Angelique turns out the last lights in the drawing room, then sits before the fire and urges Maggie to sleep--and while you sleep, you will hear my voice, but you will not know it is mine. You will hear me and obey me, for I will lead you to what you want to find--to the secret of Quentin's life.

Maggie dreams. Angelique's voice says, you are asleep, but you hear me--follow my voice...follow...follow...follow... Maggie rises from her bed and leaves the room. She finds a curtain, and when she parts it, darkness.  Angelique's music plays. Come into this room, Maggie, bids Angelique, and learn the secret. Maggie enters Angelique's room. The table holds the secret, says the voice. Underneath, beside the ornament, push the button. Maggie finds a secret door in the table. There before you lies the secret, chants Angelique. Maggie awakens and, while she mutters to herself that it was only a dream, climbs from her bed and leaves her room.

Down in the drawing room, Angelique smiles, knowing exactly where Maggie is going.

Indeed, Maggie goes to Angelique's room, opens a secret drawer and finds inside a packet of letters tied with a blue ribbon. What is this? she wonders.

NOTES: OK, so Maggie isn't the sharpest tack in the pack, going to meet John Yaeger when she doesn't even know him. The fact that he knew something about her very personal life had to be a good hook, but she almost got raped (notice they never said that word) and only Buffie's timely intervention saved her from that fate. Yaeger seems like such an animal, doesn't he, forever licking his lips and getting these glazed, orgasmic looks in his eyes? Cyrus, too! Ewww! How ironic that, unable to confess her stupidity to her husband, Maggie goes and confesses all to Cyrus, who, unbeknownst to her, is the alter ego of the man who just tried to attack her--and who would have used Cyrus' equipment to do so!

Terrific performance from Pennock as the man trapped between two identities, knowing how evil Yaeger is, but unable to go after Maggie without his ugly assistance. As repulsed as Cyrus is by what Yaeger did to Maggie, or almost did, he still wanted to turn back into him, pursue her, and finish what he'd started before Buffie stopped him.

What has Angelique led Maggie to, and how will it affect things between her and Quentin? It's getting complicated!

Love. Robin

150
1020 - Angelique gazes with hope at the door, waiting, like a black widow spider to pounce on her prey. And the winner is...lawyer Larry Chase. Concerned to see her trembling, he asks is something wrong?  The house is suddenly cold as a tomb, she says, and I'm so afraid. He puts down his briefcase--what's frightened you? he asks.  I hate to be alone, she says. Where are Quentin and Maggie? he asks.  They went out for the evening, she says--I heard someone, down the hall--would you stay here with me for a while? Embarrassed but eager, Larry smiles and says, actually...  I'm sorry, says Angelique- I shouldn't have asked you. Nonsense, he assures her, I just finished work and brought over some papers for Quentin to sign. Isn't your wife isn't expecting him? she asks.  I'm not married, says Larry--I'm the last of the bachelors, and proud of it. (Didn't he once say he was married, or at least had on a wedding ring?) Oh, she says, could you come here, please? Observing that something is physically wrong with "Alexis," he offers to get her a drink. (Always a cure-all on this show.) It's all right, she says, I just feel better standing there near you. That's the affect I like women to have, he says, obviously mixing up his line. She smiles at him--hold me, she asks.  He looks around--are you sure no one is here? he asks (and what if someone was)?  HOLD ME, she commands, her face bare inches from his.  I've wanted to do this ever since I first met you, confesses Larry. (Fred's last words, too, as I recall.)
He hugs her close; she takes his face in her hands and plants a big kiss on his mouth, grinding her face against his as she sucks the life out of him.

Will enters Collinwood to find Angelique screaming, "He's dead, he's dead!" Will kneels to check on Larry.  We were just standing here, talking, says Angelique, and he just fell over. He's so cold, says Will.  We should get a doctor! she wails. It won't make any difference, insists Will, it's as if he's been dead for hours! That can't be, she objects--it just happened. Will shakes his head--how it can be? he asks. Sobbing, Angelique mumbles something.  I'll call Cyrus, says Will--you should calm yourself--I know what a shock this can be. No you don't, she says, suddenly looking triumphant. I'll call Cyrus, repeats Will.  Do that, she says.

Cyrus' lab - The doctor takes down the map now covering his safe, opens it and takes out the potion, wondering what am I doing?--do I miss being John Yaeger so much? Do I have to murder again? No, this time will be different--I'll just see Buffie. The phone rings. He doesn't answer at first, letting it ring, then picks it up. It's Will--come to Collinwood right away, he says--Larry had some sort of attack and is dead. I'll be right over, promises Cyrus and hangs up. Saved! he exults to himself, then puts the potion back into the safe and covers it with the map.

Will has placed Larry's lifeless body on the sofa in the drawing room and covered it with a blue sheet. He closes the doors. Barnabas has joined the party. Angelique asks Will, when will Cyrus be here?  It won't be long, he assures her.  Maybe there's someone else we should notify, suggests Angelique. The police, I should think, suggests Barnabas--no offense, but his death was most unusual, as you say. Clearly disagreeing, Angelique says, of course you're right, we should call the police--Will. take care of that. We should wait for Cyrus to come, insists Will, he'll know what to do. What a terrible thing to have happened, remarks Barnabas, with Maggie having just returned--death seems to have a most mysterious affinity for this house. Angelique gazes at him, asking accusingly, "Why do you look at me when you say that?"  Will, anxious to placate, says, Alexis, you're still understandably upset, but Barnabas meant nothing--"Did you, Barnabas?"  The vampire asks, "Why should I--I was just thinking of the strange mysteries around here." Gazing at him speculatively, Angelique says, you yourself are one of those mysteries, aren't you, Mr. Collins?  "I hope not, Miss Stokes," replies Barnabas. A knock at the door ends this exchange.  Will, chuckling uncomfortably, goes to let Cyrus in. I'm so glad you're here, murmurs Will. Where is the body? Cyrus asks.  In the drawing room, answers Angelique. I'll show you, offers Will.  No, insists Angelique--he'll have a lot of questions he'll want to ask me. Angelique and Cyrus enter the drawing room and close the door. Will, scared, asks Barnabas, why did you come to Collinwood?  To visit, of course, responds Barn. That's all? asks Will. Yes, says Barnabas--you are not in charge of me any longer, Will (and I LOVE the way he deliver this line). I can't stop you, says Will, but I won't have you hurting anyone here--I saw the way you were staring at her. I have no interest in her, says Barnabas--now, meet me at the secret room just before dawn. Where are you going? asks Will.  I don't need to tell you, says Barnabas--just tell Miss Stokes and Dr. Longworth I'm sorry I couldn't stay.

Barnabas exits the house and stands outside, lamenting, "The lust...the lust!" He closes his eyes as if in pain. "I must find someone to make me stop thinking of Maggie--I must find someone tonight!"  (He sounds a lot like Angelique a short time ago, doesn't he?)

Cyrus tells Angelique and Will, I will follow the ambulance to the morgue--there will be an autopsy. Is that necessary? she asks. In cases like this, says Cyrus, it's always necessary--now, are you absolutely positive of the time of the attack? Yes, it was just like I told you, she replies.  It's highly unusual for a body to get rigor mortis that quickly, says Cyrus--I'll drop by soon, bring you something to help you rest.  Both Will and Angelique thank him.  Will you perform the autopsy yourself? she asks. No, he says, but please don't worry. I'm not worried! she says, sounding angry, and heads into the drawing room. Will, don't leave her alone tonight, instructs Cyrus. He goes into the drawing room.  I could stand a drink, he tells Angelique--how about you? She  refuses. He tries to talk her into it--it will do you good, he says--don't worry, I will take care of everything. I won't worry, she promises--Will (who's already sipping his drink), do you know Barnabas Collins well?  I wouldn't say that, he answers warily. You know him better than anyone else in this house, she says--why did he come to you? He read my book about his ancestor, says Will, fingering the fang marks on his neck. What do you really think of him? queries Angelique. I don't know, answers will.  You're hedging, she accuses.  No! says Will firmly, why are you bothering to ask me all these questions about him for?  Because he looks at us as if he knows all about us, she says, but he couldn't, really, could he, I mean it's as though he has some secret information--do you understand him?  No, says Will--why should I, hm?  I don't know, she says, but you're very nervous right now, and I wondered why.

Eagle - Barnabas sits at a table topped with a red and white checkered tablecloth, a candle in front of him, an untouched drink next to it.  Will there be anything else? asks Buffie. He looks up at her--will you join me? he asks--it's such a lonely night. I never thought of a night being lonely, she scoffs, one hand on her hip--I guess this one is. She sits down with him; he introduces himself. Oh, I thought I knew all the Collinses, she says--are you just visiting here? He nods. Where are you from? she asks. South America, he says. Really? she asks eagerly--I always wanted to travel everywhere, anywhere. Perhaps you will, he says. I've about given up on that now, she says, smiling. I was reading about a theory the other night that we exist in different bands of time, he says--look the same, but behave differently because we made different choices--perhaps in another band of time, you've left Collinwood, you're living the life that you want. She chuckles--I hope I'm having a better time, she quips--oh, I don't mean now, I mean in general. The door opens and closes. Customer! she says, rising from the table. "You will come back," he says, standing, too. She nods.  It's Cyrus, who greets Barnabas. We meet again, says the vampire, will you join us? No, says Cyrus, just back from the morgue, and was just driving back to Collinwood. You know exactly what happened to Mr. Chase? asks Barnabas. Not yet, says Cyrus. Buffie asks the doctor, do you want a drink?  No thank you, he says, I was wondering if you had seen John Yaeger?  Is he back in town? asks Buffie, sounding afraid.  I don't know, says Cyrus, I wondered if you did. I thought you told me yourself that he wasn't coming back, she reminds him. I did, didn't I? says Cyrus--well, he's very unpredictable--I guess I'd better be going--Barnabas would you like a lift back to Collinwood?  No thank you, says Barnabas. Goodbye, Cyrus says to Buffie and leaves.  Do you know why he came in here? she asks Barnabas.  To see you, obviously, says Barnabas.  "Me? Are you crazy?" giggles Buffie. No, I'm right, he teases. Not likely, she says. Barnabas, sporting a rare smile, says you're a very pretty girl. "You keep telling me that, and maybe I'll believe it," she says flirtatiously. He looks at her--will you be closing here soon? He asks.  In an hour or so, she says. He leans in very close, smiling at her.
"Perhaps I can take you home," he suggests. "I think that would be very nice," she replies. He's about to kiss her, but slides right past just as their lips are about to connect. Where are you going? she asks, surprised that she wasn't kissed. I'll be back, he promises briefly. You could stay and keep me company until closing time, she suggests.  I don't think that would be wise, he says--"I'll be back." He leaves.  Buffie, watching him go, licks her lips as if hungry.  Her expression says, I like him a lot.

Back at Collinwood, Angelique asks Cyrus, how long it will be before you get the autopsy results? Not until morning, he says, handing her a bottle of pills--they'll help you sleep--you're probably very tired. I am, she agrees--thank you. Will holds up his glass and says, if you'd had a little drink with me, you wouldn't have needed the pills--it's the greatest relaxer in the world. For you, perhaps, she says, heading off to bed; she stops and asks, Cyrus, can I call you in the morning to find out about poor Mr. Chase? Please do, says Cyrus. Angelique leaves. Cyrus, Will asks, will you join me in a drink?  Cyrus refuses. I don't know what's wrong with everyone around here; complains Will, it seems as if things were just beginning at this time of night--we'd all mosey down to the Eagle...  I'm afraid you wouldn't even find much company there, says Cyrus, sourly--except for your friend, Barnabas Collins--I stopped in there tonight, he was there with the girl who works there--they were alone together. Will, looking stricken, quickly puts down his glass. "Buffie," he says, and starts to race from the house. Cyrus, puzzled by his quick departure, calls, wait!   I'll see you later, promises Will, still in flight.

Eagle - Buffie blows out the candles and cleans up the tables. Will comes in.  You're just in time for the last one, she notes. Where is he? asks Will--Barnabas Collins. He'll be back, says Buffie. How do you know? asks Will. He's taking me home, she boasts, that's why. Will shakes his head, about to tell her.  What's wrong? she asks. Yes, says Barnabas, standing behind him, what IS wrong, Will?--tell me.  Will, petrified, surveys his master.

Barnabas, gazing warningly at Will, again asks, what did you want to tell Miss Harrington? Nothing at all, says Will softly, I just heard you were in town and thought we might go home together. I won't be going home now, says Barnabas quietly, his tone tinged with steel, "but thank you for your. . .consideration--but it won't be necessary--you understand, Will?"  (His voice is TERRIFYING!) Yes, answers Will, I think I'll be going home now. Disbelieving, Buffie asks, "You won't even have one drink, Will?"  No, he says, I don't think I'd better--thank you. She watches him leave and remarks, everyone is acting so peculiarly.  Aren't they? asks Barnabas--is it time to close now?  I think so, before anyone else comes in, she says. She turns off the lights as he watches her. "Well, come on, Mr. Collins," she says.

At Cyrus' lab, Will shakily takes a big gulp of yet another drink.  Are you sure I'm not bothering you, Cyrus? asks Will.  No, I need company tonight, Cyrus assures him. So do I, says Will--I remember once you and I talking about good and evil, and I accused you of knowing nothing at all about evil. You were wrong, points out Cyrus--we all have evil inside us, I think it best that we just admit it, and let it out. Like your friend Yaeger, laughs Will nervously. Cyrus stares at him--I didn't know you knew John. I didn't actually, says Will, I ran into him once, described him to Quentin, who said that must be who it is--he never mentioned me to you?
No, says Cyrus, why should he? I just thought he might, says Will--where is he now? He's waiting somewhere, says Cyrus, to come back--you know, he and I are much more alike than you think--the only difference is, I work and he plays--and I do what I should, and he just does what he wants. Try it yourself, Will suggests--quit work, have fun, just have a ball. I wouldn't know where to begin, says Cyrus, examining a test tube. Do it by just doing whatever you want, for once, advises Will. Yes, agrees Cyrus, you're right, I should--I will!

We focus on the TV set in Buffie's apartment (a rare sight). She and Barnabas enter.  I always meant to fix this up more, she says. He admires the picture Yaeger gave her, which is hanging on the wall over the fireplace. Do you really think so? she asks--I don't know if I like it or not, I keep changing my mind about it--someone gave it to me, but when I think of him, I don't like it too much, I guess--but you didn't come here to hear about my problems. No, he agrees. She offers him a drink, which he refuses, moving in closer. Are you sure? she asks.  Buffie grins when he slides an arm around her, drawing her nearer. "You have the strangest eyes I've ever seen, she says, gazing up into them--it's like they can see through me."  She tilts her head, anticipating his kiss, and rests her head on his shoulder.
Barnabas, his lust different from hers, sinks his fangs into her throat, holding her limp body pressed against his, arms around her. Someone knocks at the door.  Barnabas lets her fall to the floor, unconscious. Cyrus flings opens the door and flies in.  "Buffie?" he says, spotting her. Barnabas, caught, stands there, staring at him.

NOTES: Cold shower time, folks. Buff and Barn are too hot!

What a dilemma we have here, and some fascinating observation. Cyrus shows up as himself to Buffie's apartment, not Yaeger, and one wonders if he was planning on starting the fun Will suggested to him by taking Buffie up on her not-so-subtle offer. (I like quiet men.) The question is, can Barnabas disappear before Cyrus can register who he is, or has our vampire been caught, en flagrant dilecto, as it were?

Buffie and Barnabas make a very sexy combination, reminding me of Nancy Barrett's many encounters as different characters with the vampire. She really seems to like him, and he likes her, too, probably more for her blood type than her sexy hair and pretty blue eyes. He could have gone for a hooker on the docks, but homed in on Buffie instead. Good choice.

I adored Karlen's performance in this episode! His nervous exchange with Barnabas at the Blue Whale reminded me so much of Willie in the early days of RT, a constant nervous wreck trying to stop Barnabas' attacks on people he knew and failing miserably. This Will may have talent and money, but he's as fearful of the vampire as his RT counterpart, even under his thrall. Knowing that Barnabas is planning to make Buffie his victim, powerless to stop it, no wonder Will went to Cyrus' for drink and conversation. He had to be feeling absolutely terrible about the fate he was forced to leave Buffie to at Barnabas' hands (and how does one vampire victim feel about another, anyway, jealous, perhaps)?

Poor Larry got a nice big smooch before Angelique sucked the life out of him. I hope she at least gave him the tongue, considering it was his last. I remember finding this need of hers, and her methods of choosing her victims, extremely creepy. Any port in a storm, but considering what a gap Chase's death is going to leave behind, she should have found herself a stranger--or Hoffman could have pimped one for her. Both Angelique and Barnabas are, in essence, draining life from their victims, but Barnabas leaves his alive, most of the time, while one touchy-feely encounter with Angelique leaves her victims dead--and very, very cold.


1021 - What happened? Cyrus asks Barnabas.  The vampire kneels down and quickly covers Buffie's fanged-marked throat with her scarf. I had just taken her home, explains Barnabas, and had left her apartment--I heard her scream, returned and found her this way.  I heard her scream, too, says Cyrus. Buffie, can you hear me? Barnabas asks.  I want to take a look at her, says Cyrus.  No, says Barnabas hastily--she's coming to.  What happened? asks Buffie.  Barnabas stares into her eyes and says, "You must tell us, Miss Harrington."  Frightened? she asks. Through hypnosis, he coaches her: Yes, what was it, he asks--something in the room, out the window? Yes, she agrees--I thought she saw someone at the window, looking in. Barnabas asks Cyrus to check, which he does--I don't see anyone, he reports, nor did I see anyone when I came in.  Are you sure you sure you didn't imagine it?, asks Barnabas. I guess I did, she says, I do silly things sometimes; I hope I didn't cause anyone any trouble. She rises to her feet, hastily adjusting the scarf. No trouble, says Cyrus, we're happy you're all right--you are all right, aren't you? Yes, just a little shaky still, she says. Perhaps you'll allow me to stay with you until you feel better, suggests Barnabas. Buffie, now sitting in a chair, says, that's very kind of you. She refuses to let Cyrus examine her.  Barnabas reminds the doctor, you have unfinished business you were attending to--surely there was some reason you were on this particular street at this particular time of night? Oh, says Cyrus, you're right, I forgot.  Then, good night, says Barnabas firmly.  Cyrus leaves. Barnabas listens at the door to make sure he's gone.  What happened? asks Buffie--why do I feel like this?--why didn't I ask for help? You know the answers to that as well as I do, says Barnabas hypnotically.  Yes, she agrees. You'll do exactly as I tell you, won't you? he asks.  Yes, she says eagerly. And you will not go anywhere near Cyrus, will you? he asks, Whatever you say, whatever you want, she promises. Sleep, rest, he says. You'll be back? she asks hopefully. Yes, we will see each other very soon, he assures her. He backs away from her, their eyes still locked, and leaves. She gently touches the spot on her throat where he'd penetrated her.

Collinwood - Maggie, pouring tea in the drawing room, sits across from her husband at a table.  Why didn't you tell me Angelique was murdered? she asks. Why should I tell you something that isn't true? He demands. Why would Alexis tell me something that isn't true? she counters.  Because Alexis believes it is, but I don't, says Quentin angrily--Angelique was not murdered! Angelique, entering the house, a bouquet of flowers in her arms, overhears this exchange. Let Alexis believe what she likes, insists Quentin, just because Sabrina became hysterical at a seance doesn't mean it's true--please stop talking about it. All right, says Maggie, hurt (Angelique smiles), if that's what you want. He apologizes for getting angry. Angelique closes the door and calls to Maggie, then shows them the gorgeous bouquet of flowers she picked for Maggie. I'll have Hoffman get a vase, says Maggie.  Angelique, in extremely good spirits, says, I'll get it--you should go outside, too, it's so beautiful.  Maggie holds the flowers in her arms, remarking, how nice of Alexis. Cyrus knocks.  Good morning, Quentin greets him.  Cyrus admires the flowers.  I can see you want to talk to Quentin alone, says Maggie--I'll be upstairs.

As Quentin leads Cyrus into the drawing room, Maggie places the flowers on the table. The cause of Chase's death was indeterminate, explains Cyrus, but the body was so cold... The man was dead, Quentin reminds him. No, says Cyrus, if I were to list the cause of death, I'd say the body froze to death!

Angelique exits the kitchen area and listens at the double doors, then looks down at the flowers on the table. Dear, sweet Maggie, she says to herself, passing her hand in a magic gesture over the flowers, what is it about you that makes something peculiar happen to such pretty flowers, so soon after you held them--and what will Quentin think when he sees what happened? The flowers instantly turn from brilliant-hued life to black and white death.  She grins with satisfaction.

Cyrus, asks Quentin, do you think what happened to Larry is in any way related to what happened to me? You mean any unseen forces at work in this house? asks Cyrus--I don't know, but wish I did, I wish I knew a lot of things. He leaves. Quentin spots the dead bouquet on the table. Maggie comes downstairs--I thought there was a vase in our bedroom, she says, but...hey, what happened to the flowers?  I don't know, says Quentin. Angelique exits the kitchen with a vase--I hope it will be large enough, she remarks and stops, horrified to see the flowers she picked less than half an hour ago are dead--why, just minutes ago, when Maggie was holding them, they were so lovely and fresh--now, they're so cold, as if they'd frozen and died. Quentin immediately picks up on this. It's sad, says Maggie--they were lovely, but Ie can pick more in the garden. Angelique smiles a bit as she observes the awkwardness between the couple.

One o'clock - Cyrus goes to check on Buffie, who curtly says, there was nothing wrong with me, I just have an overactive imagination, that's all--and I want you to go. There was a time I thought you enjoyed my company, he says, hurt. Please, doctor, she says, turning away from him. You find Barnabas Collins very interesting? he asks, jealous. Please, she begs, I have things to do.  As you wish, says Cyrus. Have you heard from Yaeger? Asks Buffie.  Do you miss him? queries Cyrus. No, just curious, she says evasively. I haven't heard from him, but if I do, you'll be the first to know, he says, gazing raptly at her. He leaves. Buffie looks at her love bites in the mirror, fingering them. Barnabas appears--does John Yaeger still interest you? he asks. "You were standing out there all that time?" she asks. He advances on her. Tell me everything you know about Yaeger, he commands. I hardly know anything, she says, the doctor can answer your  questions; he knew him better than anyone. Oh? asks Barnabas. Yaeger used to help him with his experiments, she says, I bet he could tell you where Yaeger is right now. That would please you to know, wouldn't it? asks Barnabas. No, I never want to see him again, she insists.  I, on the other hand, want to see him, ASAP, says Barn--I have important questions to ask him, concerning a certain basement room--I want you to find out everything you can from Cyrus.
You told me to stay away from Cyrus, she protests. That was before I knew there was a connection between Yaeger and him, says Barnabas--make sure he doesn't find out our secret--I must find that man!

Maggie sits by the fire, reading a book. Angelique enters.  Quentin's in his study, working, says Maggie. There's something I've been meaning to mention all day, says Ang--I've been thinking about Angelique--and I might have a way to find out who her murderer was--if you had murdered someone, what's the most logical thing you'd do? Blame is on someone else, says Maggie. Possibly, says Angelique, but there's something that might work much better--deny there was a murder to begin with--it's perfectly simple--if you can convince everyone there wasn't a murder, you'd have nothing to worry about, would you?--if there was someone to deny there was a murder, shouldn't that be the first person to suspect? I don't know, says Maggie, who seems uncomfortable. That's only logical, says Angelique. Yes, but only this morning, Quentin said he didn't believe Angelique had been murdered, says Maggie. Oh, Quentin, of course, says Angelique, I'd forgotten all about him, he said the same thing to me just after the seance--he's convinced there wasn't a murder--oh, but Maggie, of course I didn't mean Quentin--he's the last person in the world I'd think of--he couldn't have done it, we both know that, don't we?
Yes, of course, says Maggie, sounding very unsure. Angelique was his wife, says the blond, he couldn't have killed his wife, not if he loved her--could he? Maggie shakes her head, not sure at all.

Up in their bedroom, Maggie prepares for bed, gazing at herself in the mirror. Quentin enters. Are you coming to bed? she asks.  I don't know, he answers--I have things I must do downstairs before morning, if you don't mind--it won't take long. I don't mind, she says--I want to tell you I'm happy I'm back. So am I, he says.  I'm sorry I went on and on about Angelique this morning, she says, and the murder--I promise never to mention it again. And I shouldn't have blown up about it, he says--forgiven? Forgiven, she agrees. Don't be upset about what happened to those flowers, he says. I wasn't, she says, puzzled, maybe...  I'm sure it doesn't mean anything--I shouldn't have brought it up. I won't be long, he promises, kissing her hand tenderly. I'll be waiting, she promises. He leaves.

Buffie's room - I'm surprised to have received you invitation, says Cyrus.  I didn't mean to sound so unfriendly, she says. You mentioned that you'd been upset lately, he reminds her, accepting her apology. That's one of the reasons I asked you up here, she says--I have some things Yaeger gave me, and since I don't want to see him again, I'd like to return them--could you give me his address?  So, it is John Yaeger you've been thinking about, notes Cyrus. Only to give the things back, then forget about him, she insists. Are you so sure it isn't because you want to see him again? Why would I want to do that? she asks--I want to forget about him, I really do!--so could you please tell me where he is? I have the very distinct feeling if you wait long enough, you'll be seeing Yaeger, fairly soon, he says. And with an arch look at Buffie, he leaves.
Buffie, unhappy, thinks, he knows more than he's telling me--I'm sure of that, but why is he protecting Yaeger?--I've got to try again.

Maggie sleeps, dreams. She sees a burning candle, hands joined in a seance on a table. Angelique, dressed in her infamous low-cut blue gown, as in the portrait, sits there. Quentin is beside her, and he looks at her, rises from his seat, and begins to strangle her as she soundlessly screams. Murder! Murder! yells Angelique's voice.
Maggie awakens, terror-stricken, bolts upright in bed and calls, "No, Quentin, no, she was your wife! She was your wife!"

NOTES: Love the relationship between Barnabas and Buffie. What can I say, it's erotic and they really make a well-teamed victim and vampire.

So now we have Cyrus, who has seemingly forgotten all about his engagement to Sabrina (where the heck is she, anyway, not that I care)? He goes to see Buffie--why? Is he hoping to have fun with her as himself, instead of as Yaeger? He now thinks she's attracted to Yaeger, which will surely convince him to take the potion again and become that evil soul once more. He finds her with Barnabas, and is jealous--has she found another "quiet type" to have fun with? He's becoming very weird, isn't he?

Angelique has the power to kill pretty flowers and render them dead. Creepy. What is she, anyway? Not an official witch, like her RT counterpart, but just a practitioner of black magic? She should stick to killing flowers, given her track record for other spells.

Originally, Barnabas ordered Buffie to stay away from Cyrus, then, when he realized there was a connection between him and Yaeger, he changed his mind and told her to find out everything he knows about Yaeger.  The latter saw Barnabas' coffin and must surely wonder about it, but will he pursue his interest or forget about it?  Barnabas, not knowing, has to make sure he isn't in danger from Yaeger's knowledge.

Now Angelique has planted the seed in Maggie's head that Quentin killed his first wife, so of course, she dreams about it that night (was that nightmare sent by Angelique or just naturally occurring, I wonder)?  She's working hard to convince Quentin that Maggie is practicing black magic (hence, the dead flowers), and convince Maggie that her husband is a murderer. One can only hope this newly-rejoined couple will pay more attention to their love for each other than the nonsense Angelique is filling their heads with.

It's getting really interesting now; I always enjoyed this storyline when the mainstays returned and Barnabas went after Buffie.

Love, Robin