903 - Liz pauses in front of the door and asks, what's that terrible sound? David tries to make the creature lower the volume while Megan tells Liz, I can't hear the breathing. The sound stops. You really had me worried, says Megan--it's the radiator, we have one that makes incredible sounds--you just heard it. Liz listens, puzzled--that couldn't be a radiator, she says.Yes, I'm sure there's a rumor going around that the Todds keep a pet rhino, jokes Megan. Liz wants to check that room, but Megan insists it's not necessary--I was in there at the same time you said David came in. He could have come in, hidden, then gone into that room when you went downstairs, says Liz. I don't understand why your nephew would behave so oddly in my house, remarks Megan as David listens on the other side of the door. Neither can I, says Liz, it's one of the reasons I want to find him. You won't find him here, says Megan. I have the distinct feeling you're trying to keep me out of that room--you are, aren't you? Yes, says Megan, Joseph is hard to put to sleep and a light sleeper, certainly you can understand. I'm sorry, says Liz, the baby won't even know I'm in the room, I'll be so quiet. Liz reaches for the doorknob and starts opening the door, but before she opens it fully, they hear a loud sound downstairs.  Both women run to find its source. David smiles at the creature, who begins to breathe loudly again. Everything will be all right now, says David soothingly.

Megan and Liz find the desk overturned, the phone on the floor. He was hiding behind that desk when I came in. says Liz. And knocked this over when he left, adds Megan--apparently he was here. Why? wonders Liz--I can assure you, Mrs. Todd, I will find out. When you do, let me know, won't you? asks Megan.  I will, Liz promises--I'm sorry to have bothered you. I understand, says Megan, one has to look after one's children very carefully. She closes the door after Liz. David, standing on the stairs, says, that was close. When she began to open that door, admits Megan, I was terrified--I didn't know how to stop her. Neither did I, says David, but someone did.  Neither knows who it was.  What matters is, something had to be done, says David, and one of us was here to do it. Megan looks confused.

Julia has drinks with Olivia in her room at the Inn.  The actress is surrounded by her own headshots.  I didn't know you were that interested in Tate, says Julia. Oh, yes, says Olivia. A very ambitious project, having a showing of his paintings, says Julia. All I have to do is the preliminary scouting, says Olivia, I have a dear friend in NY who owns a gallery--he does the real work.Strange project for someone like you, says Julia. Not really, says Olivia, he painted a portrait of my grandmother--I'd like to see him rediscovered, for her sake--I was very devoted to my grandmother, a fascinating woman--someday, I must tell you all about her. I would like that very much, says Julia. Do you find Tate's tragedy very moving? asks Olivia. Tragedy? asks Julia. Yes, says Olivia, a handsome young man, very talented, admired, adored, then suddenly out of style, forgotten--no one knows if he's dead or alive--I guess because I'm an actress, my imagination supplies the missing pieces, makes a whole person out of Tate, a person who grows more bitter as years pass and his gifts fade away--I fancy myself as his last admirer, and am surprised there are two of us. If your plans work out, says Julia, there will be many more. Yes, there will be, agrees Olivia, and now that you understand my plans, perhaps you'll allow me to photograph your Tate painting for my friends in NY. Julia agrees to help her--you can come to Collinwood for the picture whenever you like. Julia pulls on her gloves--I have a better idea, she says--I'll send it to you with Mrs. Stoddard's chauffeur. Olivia thanks her.  It's nice to see you, says Julia says, and leaves. Olivia fixes her hair in front of the mirror.  An Oriental man enters her suite. Mr. Nakamura, she says--things are going exactly as I planned--you may now make the necessary arrangements. He picks up the phone.

Collinwood -  Julia instructs Chris to pretend to be Mrs. Stoddard's chauffeur when he brings the painting to Olivia--who may be playing the performance of her career, offstage--she says she's Amanda's granddaughter, and I have no reason not to believe her, except...for some reason, I feel she isn't the person she says she is. How can you find out? asks Chris. Perhaps this will help, says Julia, indicating something she found in the West Wing, containing a lot of papers. Chris looks at it. "And no matter what the passing world may think, I will love you forever--A.H." he reads aloud. Amanda Harris!  Yes, agrees Julia, written to Quentin Collins, summer, 1897. What does this have to do with Olivia Corey? Asks Chris.  I want you to get a sample of Olivia's handwriting, says Julia. Do you think Olivia and Amanda are the same person? asks Chris--impossible! You should know that it's possible to have a secret no one will believe or understand, points out Julia shrewdly--I think that Olivia has a secret. How can you, the life she leads? demands Chris--everyone knows her and all about her. Really, do we know everything about her? asks Julia--perhaps there's ONE thing we don't know, and it's the one thing we have GOT to find out. Chris takes the painting and goes.

Julia looks over Amanda's letter to Quentin. Liz enters. Julia asks, do you have any family portraits that might have been stored, forgotten in a closed wing of the house? Probably, says Liz--many. I want to search through them, says Julia.  Do you have a particular one in mind? asks Liz. A painter named Tate lived in Collinsport around the turn of the century, says Julia--I bought a painting of his recently at the antique shop. Antique shop? asks Liz. Yes, why? asks Julia. Nothing, says Liz. I thought there might be others around, perhaps stored right at Collinwood, says Julia. Look as much as you like, says Liz, but I'm really not in the mood to discuss specific places for you to start looking--we'll talk about it tomorrow. She goes upstairs. We get a shot of Barnabas' portrait.

Inn - Olivia, holding the painting, comments to Chris, Dr. Hoffman is as good as her word--thank you.  My name is Jennings, says Chris.  Tell Julia I will return the picture as soon as I'm finished with it, promises Olivia. She gave me instructions to wait for it, says Chris. Oh, did she? asks Olivia. Mr. Nakamura comes out.  Olivia says, "She's on to us, it's all over." She introduces him to Chris--Mr. Nakamura is to photograph the painting, she explains. He takes the painting and goes; Where is he going? asks Chris.  Mr. Nakamura is an artist, and photographs all my paintings, she says--he's taking it to photograph it--why are you so nervous?  I just don't want anything to happen to the picture, he says.It won't, she assures him. He apologizes--I don't know much about paintings, he admits. It isn't priceless, says Olivia--unless you have a special interest in Mr. Tate's works (which I obviously do). She offers him a cup of tea, forgetting his name again. She leaves the room. Chris goes into search mode, trying to find something with her handwriting on it. She returns.  He stands there, hands behind his back. She brings in the tea tray; he offers to help her with it.

Liz enters David's room, turns on the light. His bed is empty.  He enters the room, in night clothes. What were you doing in town tonight? she asks.  I wasn't in town, says David, I was in bed. You weren't in bed when I came in, she says. I was getting a glass of milk, insists David. No use lying, says Liz--I know you were at the antique shop.  Why there, of all places? he asks. I don't know, says Liz, but I am sure you were there, I saw you, heard you knocking over the desk. Why do you think it was me? he asks. I KNOW it was, she says, and leaves the room.

Chris drinks his tea. Olivia offers him more; he refuses. How do you like working for the Collinses? she asks.  It's a job, he says. Dr. Hoffman isn't a family member, is she? asks Olivia. No, he says. How long has she been there? She asks.  For some time, responds Chris. It's 9:30. Chris asks about the picture--isn't the photographing taking a long time? I told you--Mr. Nakamura is an artist, she says. I'm sure, says Chris, but I want to check...he goes toward the other room, opens the door. I'm sure Mr. Nakamura would mind, protests Olivia. We see a camera, but no Mr. Nakamura.  There's nobody here, he accuses Olivia, who looks guilty.

Tell me where the picture is, Chris demands. She stalls--I don't know. You had him steal it, didn't you? accuses Chris Why would I do a thing like that? asks Olivia--I told you it wasn't valuable! Except to some people, and you're one of those people, aren't you? demands Chris. Mr. Nakamura enters the room.  Where were you? asks Olivia.  My camera was out of order, he explains, speaking for the first time in the episode. He hands Olivia some photographs and says, another photographer made these. She hands Chris the pictures of the landscape.  Nakamura remarks, they aren't as good as I would have done. They're fine, says Olivia, taking the photos back from Chris--give him back the painting before he calls the police, she orders Nakamura. Chris apologizes--it's not my painting. She smiles at him, calling him a good watchdog--I like that. Uncomfortable, Chris says, photographing it doesn't seem to have hurt it at all--I must get back to Collinwood--I feel like a fool. I'm sure Julia will be happy to get the painting back, says Olivia.  Chris agrees. He doesn't leave immediately.  I feel an even bigger fool, says Chris, asking this, but could I have your autograph? She smiles--sure, she says.  He asks her to write "To Chris Jennings, in memory of our meeting at the Collinwood (?) Inn?" It sounds like an inscription on a plaque, she teases.  I think you're still sore at me for the way I acted, says Chris. No, she assures him, and writes what he asked for. He grins, very cutely, bids her good night and leaves, paper in hand. That young man might be very useful to us, Olivia tells Mr. Nakamura--how long will it take you to get what you went for? One hour, he tells her. Good, she says.

Julia looks over the painting in Collinwood's drawing room--it doesn't seem to be damaged, she says--but what was going on? I don't know, says Chris, but something was. Tomorrow, says Julia, we will check and see if Mr. Nakamura really did go to a photographer. I don't know about that, Chris says, reaching into his breast pocket, but I did get Olivia's autograph. He shows it to Julia, who immediately compares it to the sample of Amanda's handwriting--very similar, but are they the same? Who can answer that question? asks Chris. Professor Stokes, says Julia, an expert at handwriting analysis. Amanda Corey, says Chris, is certainly attractive. Men found Amanda Harris attractive, too, says Julia significantly.

Olivia's suite - 10:35 -  Mr. Nakamura returns. Olivia asks, did everything go as we planned--you secured the services of the best technician in Collinsport--his services and his silence? Yes, says Nakamura, who hands Olivia a large envelope containing, of all things, an x-ray. Did you see it? she asks. Yes, he says. What did you think? She asks.  There is definitely another painting underneath, he says. She holds it up the light and gazes at it, then says, "And part of it is a portrait.The question is, whose portrait?--we must find out, and we will."  He nods. You know what to do next? she asks. He nods again.  A small smile crinkles his mouth.

NOTES: Collinsport was as white bread as the high school I attended at the time, and I believe we have one black person and one Oriental person, and DS had about the same number--Mr. Nakamura and the black nurse who appeared in another storyline. It was odd to see Mr. Nakamura, but good, too, because at least we had a soupcon of something other than whites (yeah, two episodes in 1225). I don't fault DS for this, it is indicative of the times. When ONE LIFE TO LIVE featured an entire black family and one black woman posing for white, it caused quite a stir.  DS wasn't into this kind of controversy

Wonderful scenes between Paul and Liz. You did sense she was beginning to believe him during their argument, but that phone call broke the spell--and we're sure the Leviathans planned it that way.

I think we all know what Olivia is searching for--but why? Is she what she seems?

Julia is so good with Chris now, and he really needs her. He broke off his relationship with Carolyn and Barnabas has other interests, so it must be a huge relief to him that she's still willing to help him. His posing as Liz' chauffeur (what would she think of that?) was amusing, and founds Olivia attractive. He got her autograph so easily, but she wanted to soothe his ruffled feathers after the length of time she kept him waiting. Nakamura was having it x-rayed as well as photographed! Why?  Is she looking for Quentin's portrait underneath?

Not for nothing, but I think the Leviathan's should have chosen someone other than a kid David's age to be the keeper of the book--poor planning. An adult wouldn't have had to sneak from the house to go get the clothing at Brewsters. Why couldn't Megan go buy it?

Can't ask too many questions, can you? I missed Barnabas, but I always do.


904 - Oh, Barnabas does the intro! How I love that voice!

Antique Shop - Liz enters and finds only Carolyn, who greets her cheerfully. I want to see Megan, says Liz.  Carolyn informs her that the Todds have gone away for the day--so you will have to deal with the hired help--she giggles. Liz looks morose.  Carolyn asks, is something wrong?  Very, says Liz--I have a strong feeling--I don't want you coming here anymore.Carolyn looks perturbed.

I can't just make a request like that with no reason, protests Carolyn.  I have a strange feeling that whatever is wrong with David involves this shop, says Liz. What's wrong with David? asks Carolyn. Liz describes what happened the previous night, and about David lying about having come to the shop. Carolyn bursts out laughing--is that all? You're dismissing it too casually, says Liz. Megan told me about the incident before she left, says Carolyn. Tell me, says Liz. David did steal the missing book reveals Carolyn--he'd torn a page and got scared; last night he sneaked back in here and returned it. Then why did David lie? asks Liz. He's a small boy, says Carolyn, and figured that was the safest course to take--but Megan found the book this morning, so now everything's been explained (she hands the book to Liz, who begins perusing it). No, it hasn't, says Liz--when David came in, he was carrying a box from Brewster's; when I followed him, he was no where to be seen, but the box was plainly on the counter. Perhaps David carried the book in the box, suggests Carolyn. No, Megan said the box was hers, says Liz. It was a different box from Brewster's on the counter, suggests Carolyn. Isn't that a bit coincidental? asks Liz.  Carolyn chides her mother for getting as bad as David--you think there's something sinister in a box from Brewster's--hundreds of people buy things there every day--everyone has one! Liz doesn't look convinced, but she agrees with her daughter anyway, and abruptly leaves. Carolyn shakes her head--mothers!

The stranger with the watch and trench coat enters the shop. His back is to us, but Carolyn, smiling, looks at him as if he's a choice piece of eye candy. We can't see his face. He lays his hand on a clock.  Beaming, Carolyn asks, do you like it?--I do, it's one of my favorites.

David, in his room, studies the book and reads that the "enemies shall be overcome, one by one." Liz enters and gazes at him seriously--I've been making inquiries, she says, and I know more than I did last night, including the fact that he did steal that book from the shop, so don't deny it. He admits it, apologizes for the lie, and says, I took it back. Yes, Megan told Carolyn, says Liz, but I think she's lying, too--why?  I don't know, he says. There was something about the way you were reading just now, she says, the way you looked--what is that book?  Just a book, he says. She asks to have it, twice.  He hands it reluctantly into her arms.

What is this? Liz asks.  Just a book, he replies--I like the colors in it. Well enough to steal it? she asks. It isn't the book from the antique shop, he says, I found it somewhere in the house, but doesn't remember where. Remember your visit to Brewster's last night, suggests Liz--I checked at the store and learned you purchased a pair of pants and a shirt from a saleswoman I know. No, David insists, I wasn't there. The woman showed me the sales slip, says Liz--you were there!  I'm not denying it, says David--I was there, only in the afternoon--Miss Templeton just has the time mixed up, she always does that. You have an answer for everything, says Liz disapprovingly, taking the book with her--I will have to accept your explanation for now, until I show Mrs. THIS (the book). You can't take that, insists David. I already have, says Liz.  I know what's really wrong, accuses David--you're as bad as my father--you don't want Carolyn working in the shop, so you're taking it out on Megan and Philip (astute statement, David). No I'm not, says Liz, I will give them a chance to give me an explanation, and an explanation is due--in the meantime, you are not to leave the grounds until told you may, is that clear? Yes, he replies, pissed. I'm sorry things have to be this way, says Liz. Why do they? asks David, why can't we have any fun anymore? (When have they?) We will, promises Liz. She leaves.  David looks very upset.

Antique shop - Barnabas enters. It looks like a cat is sleeping on the desk. Carolyn reads from a book, "I did but see him passing by, and yet I love him, and I die." Barnabas is perplexed by her romantic recitation. I just met the most fascinating, fantastic man, she gushes, right here in the shop, two hours ago--we talked for 10, 15 minutes and is seemed as if we'd known each other all our lives. Unusual, says Barn, not looking at all pleased.That's not the word for it, says Carolyn, when you told me I would meet someone unexpectedly, and really learn what love was, I thought it a pleasant, but improbable prediction--you do remember telling me that, don't you? I do, he says, and meant it. Why are you surprised? she asks. I didn't expect it to happen so quickly, he says.  But something real and tangible did happen when that bell tinkled and I looked up into the face of a man I'd never seen before, she says. "You mean he was as taken with you as you were with him?" asks Barn. I don't know, she says, but he was interested enough to ask if he could come back this evening. When? asks Barnabas. Ten tonight, answers Carolyn. I hope the young man doesn't disappoint you on his second visit, says Barnabas. Eyes dreamy, face alight with a smile, Carolyn agrees: I hope not.

David's in the drawing room, tossing coins into what looks like an empty cup. Barnabas comes in--how is the game is going? he asks.  Aunt Liz is all hung up (remember that expression, hang-up?) on the idea that I stole the book, complains David, even though Megan told her I returned it--she doesn't believe it. What she does believe? Asks Barnabas.  David explains--she thinks the book she saw in my room is the one from the antique shop. What does she intend to do with it? Barn asks.  Take it to Mrs.Todd, and ask a whole bunch of questions, says David--she thinks I'm a liar, and Mrs. Todd is, too.  Your Aunt Liz has a way of taking things very seriously, says Barnabas. She has a way of making trouble, amends David. I don't like to see you this unhappy, says Barnabas--we will go for a walk--you can tell me all your troubles--would you like that? Yes, says David, meeting Barnabas' intense gaze.  Barnabas puts his arm around David's shoulders and leads him out.

Collinwood drawing room - Barnabas enters and finds Liz studying the book. I find this very puzzling, she says--I'm glad for the interruption--David took it from the shop, I don't understand why. A scholar of lost and ancient language might find this interesting, but David's hardly that, remarks Barnabas. I'm sure he can't read one word of it, says Liz, but it's making him tell me one lie after another (David was pretty much always a liar, especially in the early days, and a murderer attemptee, too). Barn asks, what language is it?  I have no idea, says Liz, but there are repetitions of certain symbols, refrains, throughout. What do you suppose that means? he asks. It's the sort of thing one could find in a religious book, says Liz--I swear this is some sort of devotional book. Your talent for detection is impressive, praises Barnabas.  I'm trying to find out why David is attracted to it, and will, says Liz firmly. It's very curious, agrees Barnabas, but there's one thing about this book--it's valuable--may I return it to the antique shop?  Thank you, says Liz--would you like some brandy or sherry before you go? He refuses the drink, but she asks, keep me company while I have a sherry? Does the sherry really relax you? he asks. (thinking about Naomi, perhaps?)  I keep hoping it will, sighs Liz, and sometimes it does, for a time, anyway. Why don't she try relaxing without the sherry, he asks--I have a suggestion. He takes the sherry and puts it on the sideboard, then tells her, do exactly as I say--when I leave, go upstairs and lie down--think of all that is troubling you, and one by one, force them from your mind, so it's clear and empty as you can make it--think pleasant thoughts, relax, and you will be surprised at how good a sleep you will have--think of yourself only. I'll do as you suggest, she promises.  Pleasant dreams, he wishes her.  She leaves.  Barnabas, pleased, takes the book into his arms, hugging it to his chest. He gazes upstairs, thinking to himself, "and the enemy shall be overcome, one by one..." He grins, clasping the book.

Liz, asleep in bed, dreams that she is at a carnival. David, laughing, says, step this way into the fun house, come on! Everything seems to be reflected through a prism or kaleidoscope. Why did you bring me here? Liz asks him.  To have fun like everyone else, David says, laughing.  We see a batch of laughing, creepy-looking dolls. Did you and my father ever came to places like this when you were young? asks David. I don't remember, she replies, looking sad, her face reflected in kaleidoscope. You should remember, he says.  I can't, insists Liz.  Well, that isn't important, he says, but that you're here, now. A doll turns its head, laughing; discordant carnival music fills the air.   What am I supposed to do here? she asks. Look at yourself in the mirrors, advises, and laughs. Will they show me all the people I could have been? Asks Liz.  No, he says, they'll show you all the people you really are! No, says Liz, I don't want to look at them. You have to, he says, that's why I brought you here--relax, you don't relax enough, laugh enough--and he laughs. We see the doll. Go on and look, he urges.  She does, staring into the fun house mirror (where we also see the reflection of an ABC camera). David laughs in the background.  Liz stares at herself, then screams. The dolls turn and stare.  Don't you have anything better to do than watch me? asks Liz, irritated. They're only doing what they're supposed to, he says--look at the next one, Aunt Liz, it will make you laugh. She gazes into another mirror.  I don't like this one, either, she says. David laughs and says, I know something you will like.  Wearing a coat with padding under it, making him look fat, he recites:  Fat and Skinny had a race, all around the steeplechase, Fat fell down and broke his face, Skinny said I won the race."David bursts out laughing.  Liz smiles. You're beginning to smile, praises David, leaning how to laugh.  We see everything dissolving in kaleidoscope colors again. Liz asks him, are there anymore mirrors?  Just one, he says. Liz looks, but says, I don't see anything. Keep looking, he says. There's nothing there, she says.  Barnabas appears. She cries out--is it a trick or is he really there? She asks.  What do you think? poses David.  I don't know, says Liz, but I like it--yes, I like it! She begins to laugh, as does David, and Barnabas, and all the scary carnival dolls.

Liz awakens from her dream and sits up in bed, her face filled with fear, and she's not laughing.

Carolyn finishes up her day in the antique shop. The man checks his watch, looking in the window at her, but her back us turned. A car comes barreling along, crashing into the man, knocking him down.  He falls unconscious. Carolyn runs from the shop. Oh, no! she cries, kneeling beside him. Barnabas hurries over. "The man walked in front of me, I had no warning!" he cries--"I couldn't see him until it was too late!" (On the sidewalk? He had to have been aiming for him!) Carolyn covers her face.  In a sick voice, she says, "See if he's still alive."  She wipes a tear from her eye. Barnabas kneels and turns him over (isn't that very bad, medically speaking?). "Oh my God!" wails--"Barnabas, that was the man who was coming to meet me!" He looks at her, eyes wide, then turns his attention back to the unconscious man he just ran down.

NOTES: Ending credits show us words superimposed over those creepy carnival dolls, and I knew before seeing it that this was another Violet Welles creation. No one does dreams like Violet. This is one of my favorite dreams on DS, with the seemingly acid-induced reflections splintered amidst color, carnival music and endless, unendurable laughter. Creepy!!

Of course, Barnabas is upset at this new man who has come into Carolyn's life, smitten her quickly with attraction, since he has his own plans for her love life--so does he run him down on purpose? That seems so awful, and makes us realize how deeply buried the "good" Barnabas must be. Who taught him to drive, anyway? Read LEAPFROG WITH A UNICORN, a wonderful, hilarious book about Barnabas' dealings with the 20th century, and find out one hysterically funny, plausible theory.

Love, Robin

899 - It's 9:30 - Carolyn reads the message from her father, which says it's important that I hear from you--I can't lose a daughter I've just found (Carolyn smiles), I must see you, tonight--call me, please.

Paul, using the sink located conveniently in the middle of his hotel room, tries in vain to remove the tattoo. The phone rings.  When he picks it up, he's relieved it's Carolyn, who apologizes--David forgot to give me the note. Can you come down now? he asks--I might have to go out of town. No, she says.  Please, he begs--have you spoken to your mother?--I MUST see you. Carolyn is interrupted by Liz, who says, we have to go. Carolyn whispers to Paul, I have to go; I'll try to see you later. When Liz asks who's on the phone, Carolyn lies--Megan, she says. Move along, urges Liz, Mrs. Twining won't start the committee meeting without us (so very domestic).  I can't go, says Carolyn, there was something I was supposed to do--for Megan. We've known about this meeting for weeks, Liz reminds her--what about the hospital? Carolyn insists the hospital can take care of itself--I've got something to do.  She leaves immediately. Liz, puzzled, lifts the phone from its cradle.

Paul is ecstatic when Carolyn arrives at his hotel room. He apologizes for messing up her plans.  I wanted to come, she assures him. To see your new/old father, eh? he asks. She chuckles and says yes. He tucks his tattooed hand in his pocket--I was lonely, he explains, I like people, action; I suppose that's why I left this town in the first place.  I've been wondering about that, she says. I was wondering, too, if I'd been right, he says. Paul starts to take out a cigarette and lighter, but, spotting the tattoo, he immediately shoves his hands in his pockets. What's wrong with your hand? she asks.  I've just been trying to cut down on my smoking, he says. What's wrong, she asks, I'm not clairvoyant, but I know something is. I can't fool you, he realizes. She asks, why did you say you were leaving town?  I must get out of this room, he says, back to Collinwood--I remember how peaceful it was there, how the sunshine came through the windows of the breakfast room--a man misses family, even if they don't want him around--I feel he'll be all right if I could just return to Collinwood--maybe I am and always have been a man who needs help, but now it's worse--I know it will sound crazy, as it does to me, and you won't believe it, but someone is trying to do something to me--I don't know who, or what they're trying to do--I've thought over all my sins, and there were many, but I don't have enemies like this who are making me do the things I've been doing. Tell me exactly what's been happening, orders Carolyn, sounding spunky again--if getting him back to Collinwood solve it, I will take you back there with me, tonight. You'd do that? asks Paul.  She nods. Maybe you'd be making a big mistake, he suggests.  No, says Carolyn.  I want to say something to you, he says, the biggest truth of my life--"I love you very much." Her eyes close for a moment, as if savoring the words, then she runs into her father's arms, a huge smile on her face. When I think of all the years I didn't even know I had a daughter (? Yes he did, Carolyn was two when he left), I thought about you now and again, but after a while, couldn't picture you growing up...I thought I'd forgotten, and am so glad I found you. We will make everything all right, she promises. Someone tries the door, enters the room--Liz. "Paul!" she says, stunned.

Liz, infuriated, coldly asks Carolyn, WHAT will you make all right?  Paul walks forward and calls Liz "Mrs. Paul Stoddard." Elizabeth Collins Stoddard, she corrects him, then walks past him and tells Carolyn, leave us alone. No, answers Carolyn. I can think of no argument that will convince me to let you stay, insists Liz. Carolyn refuses to go--I want the three of us...  Paul tells Carolyn, Liz and I should speak alone--we were able to deal with one another very well, once.  Carolyn agrees, upsetting Liz that she's listening to her father and not her mother.  I didn't want you to find out this way, says Carolyn, but I didn't know you would follow me here--you used to trust me more. Carolyn storms out, sans her coat. Liz looks after her, unhappy. Paul bows and says, you're still beautiful, Liz. I doubt that, she says, but I can see YOU'RE still the same, sneaking back into town, forcing yourself on Carolyn behind my back, convincing her there's something between you. There is, says Paul simply. When I asked her to leave the room, she refused, says Liz bitterly, when you did, she listened--oh how well I remember your charm, how it used to move me, just as it does Carolyn now, but I'm aware of how false it is, and it doesn't affect me anymore. Paul holds up a staying hand--let's discuss this calmly, he urges--I didn't come back just because of Carolyn. I don't care why, says Liz. Don't say that, says Paul, I came back because of you, too, and I have changed, I'm not the same man forced to leave here years ago--and I WAS forced to leave. I am sure you were forced to come back, too, says Liz, whether or not you admit it. You think I'm s after your money? He asks.  That would come as no shock, she retorts. My reasons will shock you, predicts Paul--you're right--I was forced to return to Collinsport, by you, my memory of you.  Outrageous! she scoffs. Is it so outrageous for a man to want to start his life again? asks Paul--I've done very well for 20 years, I'm respected, and learned my responsibilities. Do you expect me to believe that? she asks.  Carolyn does, Paul assures her, so you must.  Blackmail again, says Liz, emotional instead of financial--you haven't changed a bit, you're still the same sly, dishonest man...  Paul insists, I never loved any other woman. You never loved anyone, says Liz--what do you want from me now? Nothing, he says. Good, she responds, because that's exactly what you're going to get, from me or any Collins. If you still call yourself a Collins; why did you keep my name? He asks. For Carolyn, she says. I'm glad you admit that, he says, because if Carolyn has MY name, she is partly mine. Did you think of that when she was a child? demands Liz--when she was growing up? No, and it was a terrible mistake, he says. You're always willing to admit to your mistakes, she says, then make them all over again--I have made a new life for myself!  You've simply returned to being a Collins! Shouts Paul--a lifetime occupation for you. There was a time you weren't ashamed of the Collins,' she cries, or did you want to be connected with them so you could steal? What did you expect? He asks--I never got love from any of you. You must give love to get it, says Liz. Carolyn loves me, I know that, he says--so I can love!  Carolyn made a mistake, says Liz--get out of town, Paul, I mean it. Where shall I go? he asks, where can I find anything--answer me, where can I find anything? Go back to that successful life you were boasting about, she suggests.It's true, he says, but lately, things haven't been going so well--it could happen in any man's life and will straighten itself out. I don't care if it does or not, says Liz, but if you stay in Collinsport, I will make sure it's a visit you won't forget. "You...you've been doing it," he accuses--"Somehow you've been making these things happen to me."  Calming down, he adds it couldn't be you, you didn't even know I was here until tonight--I'm sorry--someone is after me.  I don't doubt it, says Liz sarcastically. Not someone, someTHING, he says, I don't know what. So that's how you did it, cries Liz--got Carolyn, made her feel sorry for you, told her a lie, that you were in trouble, to make her feel sorry for you. I am in trouble, says Paul, please believe me. I haven't believed you in 20 years, she says--there's a train leaving at 11 o'clock, and if you aren't on it, she threatens, I will make a few phone calls to my lawyer and a private detective, because I know whatever it's been, it hasn't been honest--I imagine that the manager at the inn will find you an unwelcome guest--"Get out of town, Paul, it will be much easier," she says, and leaves.

Blue Whale - We see a sailor's face, dirty, reflected through Paul's brandy glass. Just one more train I didn't take, is all, Paul muses, taking a big swig--why didn't I leave, give up before it happens? Stop believing anything will happen, he tells himself--payment due, tonight. The music abruptly stops.  The sailor sitting beside him at the bar looks away. Paul wonders, is he one of them? Why does he keep looking at me? But then, of WHO? The man looks uneasily at Paul, who asks, what do you want from me?  I was going to offer to buy you a drink, says the sailor.  I can buy my own drinks, says Paul nastily. OK, buddy, sorry, says the sailor, who sips his beer, looking uncomfortably at Paul. He could be one of them, says Paul, I've got to find out! The sailor rises from his seat--you've got it bad, says the sailor, I want to talk, but won't. I owe you an apology, says Paul--my name is Stoddard.  He shows off his snake tattoo and asks the man, do you know what it is?  I've seen it before, in the East, says the nervous sailor--I shipped out on the Orient Prince. Do you know what it means? demands Paul, grabbing the man's lapels. You can get any tattoo you want! cries the sailor, struggling to get away. Tell me! screams Paul.  It's a creature without a soul, reveals the sailor, and has to find one to be real. Paul stares at him, sits down at the bar, looking like he's about to throw up. The sailor asks, are you all right?  I got THIS, says Paul (he points to the tattoo with a shaking hand) following you, now this, but connected with this. You're in trouble, says the sailor.  Don't tell me that! orders Paul--are you one of them?  No, just a sailor, says the man, I came in to waste some time. Paul apologizes--I don't know what I'm fighting or how to make it stop.Don't you? asks the man--I was once on a ship out of Manila, haunted. Tell me what to do, begs Paul, please!  OK, the man says, I'll try.

Carolyn comes out of the kitchen and starts in when Liz returns home--were you brilliant, Mother, cold as only you can be, did you listen to him at all, Mother?   I listened, Liz insists.  Why didn't you bring him back here? demands Carolyn--that was what he wanted!  You don't know your father, says Liz, I do. I KNOW him, says Carolyn, you KNEW him, that's the difference. You're being very difficult, says Liz--I was always grateful you never had to see your father while you were growing up. Well I wasn't! cries Carolyn. He was a very complex man, says Liz, not to be trusted. I do trust him, insists Carolyn. I order you not to see him again, says Liz.  Carolyn won't hear of it.You must not, says Liz says--I forbid it. "He is my father," says Carolyn, as if that explains all.

In his hotel room, Paul has drawn a pentagram on the carpeting.  He sets down five candles, one on each point. TONIGHT! says a disembodied voice.  Paul asks--who's there? Is someone in this room? TONIGHT, PAYMENT DUE, TONIGHT! says the voice, and laughs. Oh, no, says Paul, you won't get me. WE WILL, TONIGHT! the voice tells him. Paul finishes lighting the candles as the voice repeats TONIGHT! He sits in a chair in the center, and we catch a glimpse of Mike R. Phone. I'm safe here, says Paul. Hearing a slow knocking at the door, Paul's eyes widen. Someone tries the doorknob; Paul screams as it begins to open. Who is it?

NOTES: Chris is a Collins! Who'd have thunk that he was Quentin's great grandson? Why did he try to kill him before the 1897 trip? This was an unexpected turn of events when I first saw this show.

Poor Paul! He already seems a mite loony, and he's surely created friction between Carolyn and her mother. You can understand Carolyn's desire to have her father in her life, but Liz does know him better, so this is one of those difficult situations.

Paul and the sailor, what a creepy scene. The sailor was creepy, Paul's behavior was creepy. Brrr.

How easily Megan and Philip returned to being lovey-dovey after he almost choked her to death! I wish their true selves would overpower their Leviathan controlled selves, and they'd dump that Joseph in the nearest trash can!

There will be another scene at the Blue Whale shortly, wherein Paul's drinking companion will scare the crap out of us! I have never forgotten it after over 30 years!


900 - Paul sits in the pentagram, candles at every point, assuring himself, I'm safe here--safe! He hears a slow, creepy knock at the door, gulps, then screams, as the door swings open...

It's only Carolyn, who walks in to find her father terrified, begging her, go away, stay out of it. He doesn't know what--I thought you were THEM, that they'd come for me. Let me take you back to Collinwood, urges Carolyn. No! he shouts. You can't just sit here in this...she lifts and looks at the pentagram around her neck, realizing she's wearing the same sign--Barnabas gave it to me. He asks who Barnabas is.  The first time I saw you, she explains, you were outside Barnabas' house--Barnabas was still away then.I don't know why I was at the Old House, he says, but you must leave--I have to stay where I am.  Carolyn removes the pentagram from her own throat and puts it around her father's--if it will protect me, it will do the same for you, she says and you must believe it. He leaves the circle, and says, I don't hear the voice that kept saying TONIGHT. I know a doctor who can help you, says Carolyn.  Frantically, eh says, I don't want you to bring anyone here--she might be ONE OF THEM! Carolyn asks, do you trust me?  You're the only one I do trust, he says, and puts an arm around her. He fingers the necklace and says whatever it is, it seems to be working--your father is beginning to feel like a new man.  They smile at each other.

Old House - Barnabas, looking rather gaunt, stands by the mantle.  Julia, annoyed, accuses, you aren't listening to me--if Olivia is connected with Amanda, it's obvious she's come for Quentin's portrait. She won't find it, will she? demands Barnabas impatiently, nastily. I'm sure Olivia is acting for him, says Julia--Quentin is still alive.  Barnabas calls her "a bad detective" (ouch!)--you're wasting your time as well as mine. I contacted Jamison and asked for Quentin, says Julia--he told me Quentin's spirit is gone--that can only mean Quentin is alive!  You sound like a hysterical woman novelist, says Barnabas--it doesn't matter whether Quentin is alive or dead, or if Amanda is here, I'm simply not interested in them. What ARE you interested in? demands Julia--and don't tell me nothing, because I won't believe it--I know you must care about something, but WHAT, Barnabas, what? Carolyn runs in.  Barnabas is immediately concerned. I must speak with you, Julia, says Carolyn.  Barnabas asks, exactly what is wrong? sounding anxious.Julia, tight lipped, says, you just gave me a clue as to what you DO care about. Barnabas looks at her.   "See how bad a detective I am," she retorts.  Barnabas tells Carolyn, "I'll leave you alone."  She rushes to Julia. Help me, she begs, it's my father. This stuns Julia. "Your father?" she asks.

Inn - Paul's phone rings. He picks it up, and hears: THE TIME IS AT HAND, MR. STODDARD. Paul demands to know who this is. YOU KNOW, MR. STODDARD, replies the voice, but Paul says, I don't--who are you, who? THINK, says the voice, YOU GOT OUR NOTIFICATION, PAYMENT DUE, DIDN'T YOU? Paul asks again who it is, but the connection is broken. He says hello a few times, then leaves the phone off the hook--but it rings again anyway. Terrified, Paul runs from the room as the phone relentlessly rings.

Carolyn returns to the room to find Paul gone. She picks up the phone and calls the desk. She tells them who she is--did Mr. Prescott leave me any messages?  The answer is no, which upsets Carolyn.

Collinwood - Julia answers the door to a frenzied Paul. She says his name.  He demands Carolyn. No, she went to you, explains Julia--I was just getting my bag, I'm a doctor, and going to join Carolyn--I met you before, at the Old House--do you want to wait for Carolyn?  How long ago did she leave? cries Paul. About half an hour ago, says Julia, you just missed each other. Something's happened to her! declares Paul. No, she assures him, nothing has--you look as if you need attention, I can help you. You may be one of them, he says.  I'm not, she assures him--let me help you.  Paul pulls away, showing her the pentagram--I have all the help I need, right here, he says. He finds the pentagram is gone--"Oh, my God, it's gone, how did they get it, I stopped no where, saw no one!"--what can I do now, why can't I think straight, what will I do now? The phone rings.  Gazing at him with concern, Julia answers it. It's for you, she says, handing him the phone. Carolyn, he says, smiling, but when he takes the phone, he hears the voice--WE ARE WATCHING YOU, MR. STODDARD, AND WE ARE WAITING... How did you find me? screams Paul. YOUR PAYMENT IS DUE NOW, MR. STODDARD, YOU MUST REALIZE THAT! "WHAT payment?" shouts Paul--"WHAT? Hearing breathing, he hangs up the phone. They know where I am, he bleats.  You should call the police if someone is after you, advises Julia. He closes his eyes and begins to cry. "The police," he says. The phone rings.  He orders, don't answer it.  I must, says Julia.  Don't answer it, he yells, and runs from the house. The phone rings on.

At Paul's hotel suite, the phone is ringing when he gets home. He picks it up and says to the caller, there's no use calling me--I don't know what you want, I don't owe anything to anybody--now stop! YOU CAME BACK TO PAY, YOU KNOW THAT, DON'T YOU, WE'RE WAITING, MR. STODDARD, says the voice.  Paul miserably closes his eyes. Hearing more breathing, Paul puts down the phone, which immediately rings again. He returns to his pentagram, the phone stops, and he decides they won't come here, they're waiting--I'll be all right if I stay. The phone begins to ring again. He looks at it and says, it's not going to stop ringing!!!  Agitated, he finally gets up and leaves the room--and the ringing phone.

Collinwood - Carolyn is trying to reach her father. I let it ring forever, she tells Julia, who suggests, perhaps he didn't go back to the hotel. Where could he have gone? wonders Carolyn. Julia apologizes for letting him leave here--but I couldn't stop him, he just ran out. I've got to find him, says Carolyn. I don't think Paul wants help, opines Julia. But he needs it so, says Carolyn, beginning to cry.

Paul nearly falls into the Blue Whale. He rubs his forehead, then sees the Naga tattoo is gone--why? Maybe I'll be safe here...then he looks at the bar's only other occupant--Barnabas, who eyes him coldly. Paul stares back. Barnabas smiles, then moves his forefinger to Paul in a  "come here" gesture.

Paul doesn't want to go, but Barnabas keeps beckoning him.  Paul finally goes over to him. I've been expecting you--Mr. Stoddard. You're one of them, accuses Paul, and turns to go.  Don't, warns Barnabas--we have much to discuss. Would you care for a drink, or do you prefer to keep your mind clear?--that would be better, Barnabas decides--"I'm Barnabas Collins."  Paul looks at him--I don't know you--what do you want from me?  Only what is due, answers Barnabas. Paul screams, I don't owe you anything!  Sit down, Barnabas orders, staring into his eyes. Paul does. So, you owe us nothing, says Barnabas--do you remember the night you left Collinsport? You mean 20 years ago? asks Paul. Yes, I should think you'd remember, says Barnabas, such an important night in your life--what did you do that night?  I don't remember, says Paul. Think, advises Barnabas, because if you do, everything will become quite clear. I'd just had it up here, says Paul--turning into stone like the rest of the Collinses, and I got out. Think more carefully, says Barnabas, begin in the afternoon. Things were going on as usual, says Paul--Roger was pouting, the baby was crying...  Yes, she did cry a lot, didn't she? asks Barnabas, because you paid no attention to her.  How did you know that? asks Paul. Oh, I heard, says Barnabas. I don't know how she turned out such a nice person, says Paul, Jason and I were having a few drinks, sitting around, shooting the breeze. The truth, says Barn. Jason knew how unhappy I was, relates Paul, living up there in that big house, and we talked about all the money there, and how I was unable to get any of it. And after that little talk? asks Barnabas. I got out of there, says Paul, and came to the Blue Whale to think things over. How to get the money? asks Barnabas. What's wrong with that? asks Paul . Nothing, Barn replies--were you alone at the bar? Yes, says Paul. Are you sure? asks Barnabas. Of course, says Paul. You stood at the bar and had a drink by yourself? asks Barn.  Yes, says Paul. You didn't meet anyone there--a man? prompts Barnabas.  Wait, says Paul, there was a man there, standing at the bar, funny sort of a guy--all of a sudden, he began to sing.

We retreat to 1949.  A man in a striped suit, holding a drink, begins to sing "For He's A Jolly good Fellow." He takes a sip of his drink and turns to Paul, who, with his dark hair and mustache, looks much like Jason McGuire. You aren't a very jolly fellow, says the singing man. Paul agrees with this assessment. The man introduces himself as Strack and shakes Paul's hand. I like to make friends wherever I go, says Strack. Paul introduces himself as Stoddard and says, you're in the wrong town for that. I knew you weren't from around here! says Strack. I know every face in this town by heart, says Paul. I'm a traveler, says Strack.  I'd like to be one of those right now, sighs Paul. Do you have problems? Queries Strack. Yes, you might say that, says Paul. Solve them, urges Strack. Tell me how, asks Paul.  The advice of strangers is often best, says Strack, but I don't think you're as unhappy as you say you are.  Taking bets on that? asks Paul.  I'm an inveterate gambler, says Strack, and will bet on anything. They chuckle together. So am I, says Paul, but I always lose--"I'd give anything to change my luck." Anything? Asks Strack, with a big smile. You said it, says Paul. We're drinking and getting philosophical, says Strack, putting an arm around Paul--but I don't think you'd do anything. Yes I would, says Paul.  All right, says Strack, let's assume I have the power to give you whatever you want--what would you take? Money, success, no limits, says Paul. There has to be some limits to this game, says Strack.  Everything I can collect in 20 years, suggests Paul. What do I get in return? asks Strack. The object of this game is to outwit my opponent? Asks Paul. Yes, says Strack, outwit the buyer if you can. Paul says, in return, I will give you anything I have of value, even my most precious possession, collectible in 20 years. Done, says Strack, let's shake hands on it and have another drink. Sure, says Paul.  Strack offers to buy him a drink. I'll buy, says Paul, because, my friend, you just lost. How do you figure? asks Strack. Well, says Paul, I said you can have anything I've got, of value, and my friend, not what I may have in the future, because right now, I have nothing. You're pretty clever, says Strack.  Too bad it's only a game, remarks Paul. The man grins-- especially when you outsmarted me so beautifully, says Strack, and begins to laugh uproariously.
We fade back to 1969.  Barnabas is the one laughing (and how often do we see that)? How curious, says Barnabas, to forget that night. It was a drunken conversation says Paul. Barnabas asks him the date. December 4, 1949, says Paul.  Twenty years ago to the minute, says Barnabas--how have things gone for you over 20 years? Very well, says Paul--oil, stock market. We upheld our end of the bargain, says Barnabas, but lately? Not so good, admits Paul. Yes, we know, you lost everything, says Barnabas--we planned it that way so you'd be here for the meeting tonight. What do you want of me? demands Paul--I have nothing now, had nothing then. You did have something, says Barnabas, except you never realized it. Paul laughs.  Barnabas joins him. What are you laughing at? asks Barnabas. I just realized what my most precious possession is, chortles Paul--my soul--and you can have it!--take it!!!  Barnabas continues to laugh, then says, your soul isn't your precious possession--obviously. Carolyn runs in and, relieved, throws her arms around Paul--I'm so you and Barnabas found each other. Paul hugs her back--everything will be all right, he assures her. "Indeed it is," Barnabas tells Carolyn, "now that you're here--you're your father's most precious possession, you know." It hits Paul, precisely what Barnabas means, and horror fills his face.

NOTES: This portion of this storyline is SO good. The scene between Paul and Strack, and Paul and Barnabas, is so mesmerizing, with fabulous performances all around. Barnabas smiling is a rarity, and laughing even more so. He's probably one of the most morose soap opera character ever.  Here, with all this smiling and laughing, he's like a clown out of a Stephen King novel, and twice as terrifying. He made goosebumps dance up and down my spine.

Love, Robin

894/895 - Collinwood - David carries the damaged Naga book upstairs. Philip and Megan search the shop, to no avail, and agree that they serve "him", and whoever has taken the book will be tracked down--and killed!

Philip and Megan speculate on who took the book, and for what purpose. Megan senses the baby calling her, and Philip urges her to go check on him. After she leaves, he lifts up the Leviathan box. Megan screams for Philip, then dashes downstairs with the baby (aka Blanket Boy). Feel his head, he's warm, she says, frantic--I don't know when it started, but he was fine this afternoon--who can tell us what to do for him--a doctor? No, insists Philip, we must find the book!

Collinwood - David has placed the book into a big box. He brings it into the drawing room and closes and locks the door behind him. He's dressed in a suit, odd attire for a kid his age. He takes the book from the box and opens it. Carolyn comes out of the kitchen area and tries to open the door, but finds it locked. She's distracted by the ringing phone. It's Megan--sorry to bother you at home, she says, but something terrible has happened--did you happen to see a very old book? Philip is holding the baby. Not in English? questions Carolyn. Yes, that's it, says Megan--it's gone, and you were in the shop all afternoon--can you remember who else was here? Carolyn, biting her lip, asks, was the book valuable?  The nearly-hysterical Megan says yes, very! You'd have to be an expert in something to know it was valuable, muses Carolyn, not just anyone would pick it up. CAROLYN, WE'VE GOT TO FIND THAT BOOK! cries Megan. Don't get upset, says Carolyn, give me a chance to ask around about it. Calming herself with difficulty, Megan says it's not just the book, but the baby--he isn't feeling well. What did the doctor say? asks Carolyn.  I haven't called him, answers Megan.  Hang up and do so, right now, orders Carolyn--let me worry about the book--I might be able to get my hands on it very soon. Carolyn hangs up and gazes at the locked door, then says. "David! I know you're in there, and if you don't unlock this door, you're going to be in a great deal of trouble!" He lets her in.  Why was it locked? demands Carolyn. It wasn't, says David.  I heard you unlocking it, insists Carolyn. No, he says, I was just jiggling it, sometimes it gets stuck and seems like it's locked. I have some questions for you, says his cousin--this afternoon, when you and Amy were in the antique shop, did you take anything? Acting wounded, David asks, do you think I'd steal?  Forget "steal," says Carolyn, but a very valuable book is missing.Why do you think I took it, he asks--there were lots of other people in the store! I didn't say you took it, says Carolyn, I'm just asking--there's something about your behavior I doesn't like; you're hiding something. David denies it. Barnabas enters the room--what's wrong? he asks.  David's lying to me, claims Carolyn. David denies it again. Carolyn stands by the fireplace and turns around to catch David looking guilty, as if he's hiding something behind the drape. She pushes him aside and finds the box.  That's Amy's picture puzzle, he claims.  Amy's been looking for it since this morning, says Carolyn. I snitched it, admits David, because Amy is a pest. (nice!)  Carolyn takes the box and sets it on the table.  I'll never understand boys that age, sighs Carolyn. Barnabas lifts off the cover and remarks, it's going to be a difficult puzzle to put together. (There are puzzle pieces inside.)  I don't know why Amy wants it, says David, considering hardly any pieces are left. I see that, says Barnabas.  Carolyn asks David, is this why you were so evasive when I was asking you questions? Barnabas listens carefully as he pours a drink. David admits--I was afraid you'd be angry with him. Do you know anything about the book? she asks.  I didn't, says David who petulantly adds--some old book, not even in English, is missing from some dumb antique store, that doesn't mean I took it--why should I, it wasn't even in English! This catches Barnabas' attention. He has just taken a sip of his drink and tunes his ear to the conversation, concerned.  I know you're lying, accuses Carolyn sternly.  Barnabas swivels around to look at David, too.

I never said that book wasn't in English, says Carolyn.  And I never said I didn't look at it in the shop, retorts David--I didn't take it, honest!  I suppose maybe you didn't, says Carolyn--Megan was so upset when she found it gone, she says it's very valuable, and I promised to get it back for  her. David looked very pleased to have gotten away with his lie.  Barnabas asks, who else was in the shop this afternoon? Carolyn thinks--four or five people who bought things--Amy, Julia, Barbara Pope, and Fred Dawson, and people who looked at lamps, but none who would have reason to take the book. "What about Mr. Prescott?" demands David.  Who's he? asks Barn. Forget him, says Carolyn, because he didn't take the book. "You're just saying that because you think he's so wonderful!" accuses David. "David!" cries Carolyn. "Now I am curious, says Barnabas, turning to her, who is Mr. Prescott? Her new boyfriend, that's who, tattles David, getting right in his cousin's face. It's very dangerous to talk of things you don't understand, warns Carolyn--you can get into trouble that way, and you're in trouble enough. Just because I took Amy's puzzle? asks David--she takes things from me all the time!  I hope that's all the trouble you're in, says Carolyn.  Barnabas, says David plaintively--tell Carolyn to stop picking on me--just because her friends lose a silly old book, they act like it's the end of the world!

Megan arranges a blanket on the baby. Barnabas enters the shop--I happened to be passing by, he says. This is Joseph, says Megan, my sister's baby, we were supposed to look after him a while, but we haven't been doing too well--he started running a fever a while ago, feels like he's on fire (perhaps he has some Phoenix in him?). That's not unusual, says Barnabas, children often get high, sudden fevers. I don't know, frets Megan--ask me about antiques, not babies. You need to find someone to help you look after a child properly, wouldn't you say? says Barnabas.  Philip comes downstairs with a cold cloth--perhaps this will help to bring his fever down, he says. He's a beautiful baby, Barnabas tells Philip. And a very sick one, I'm afraid, says Philip--if we could only find a way to help him. Find out why he's sick, advises Barnabas--perhaps you must find out what is happening. Philip and Megan exchange glances. Barnabas tells Philip, I have decided to sell you the Hitchcock chair--you can come with me RIGHT NOW to pick it up. If it were any other time, I'd be at your door before you could change your mind, says Philip, but I can't go tonight. Yes you can go, insists Barn, and you will. Puzzled, Megan says, you can't expect Philip to leave on a night like this. I expect you to do what must be done, exactly as it must be done, says Barnabas firmly--you speak of time, my children, there is only one time for us--the time of the Leviathan people.Megan and Philip listen raptly.  The latter repeats the last words Barnabas said. "And that time is now," says Barnabas.  I'll be back as soon as I can, Philip tells his wife, Hitchcock chair in hand. Seeming more like herself, Megan says, "One more dream come true." Shall we go? Philip asks Barnabas. Megan tends to the baby as the door bell chimes behind the departing Barnabas and Philip.

Once again, David closes the drawing room doors. He's about to open a cabinet in the desk when Liz enters and asks, what are you doing?  Looking for paper, he says, I want to draw something. Carolyn told me something about you, reports Liz. I know, says David angrily, she says I stole that book. No, only that you didn't tell everything you knew, corrects Liz, and if you think very hard, you might remember something else. David says, I DO remember something now--last night, I was in the foyer and saw Carolyn outside kissing a man. That has nothing to do with what they are discussing, says Liz. Yes, it does, insists David, because that man came into the store, and she acted like she hardly knew him. Perhaps you only thought it was the same man, says Liz.No, says David, because the man was tall, and had all-gray hair, much older than Carolyn's other boyfriends--and she seemed to like him very much. (tattletale!)  Carolyn enters at this moment--Maggie's re-doing the cottage, she says, and we seem to have a whole boxful of curtains in the attic. Tell her to take whatever she wants, instructs Liz,--wait, Carolyn...David, it's time for you to go to bed.  David smirks at Carolyn, pleased with himself for having switched his aunt's gears, as he exits the drawing room. Carolyn knows something is up--did you learn anything from David? she asks. Yes, I did, says Liz--who's the man? What man? asks Carolyn.  The one who brought you home, came to see you in the antique shop, says Liz. No, one, says Carolyn--I'd like to go tell Maggie she can have the curtains. I very seldom interfere in your life, says Liz but is this man right for you?--from David's description, it doesn't sound like you two have much in common. You're wrong, answers Carolyn, smiling, we have a great deal in common.  (just a few genes)

Philip carries the Hitchcock chair (not terribly impressive, IMHO) downstairs at the Old House.  It's a very beautiful chair, he tells Barnabas, something I've always wanted. Now you have it--but for how long? asks Barnabas. Philip doesn't understand. Sometimes, says Barnabas, we have things we don't take very good care of, and we lose them...much to our everlasting regret--has that ever happened to you? Yes, of course, replies Philip. I'm sure you're anxious to get back to Megan and the baby, says Barnabas, but you oughtn't to go until you take something more to them than you are taking now--before you go back, there's something else I want you to see. Philip doesn't look terribly comfortable to hear this.

Leviathan altar in the woods - Barnabas and Philip stand there. I wonder why I've never seen it before? Wonders Philip.  No one can who isn't one of us, explains Barn (how did Carolyn see it?) It exists only for us and our people--it's our sacred altar, and where we will perform the ceremonies and make the sacrifices. Barnabas walks to one of the burning torches. He places two black candles into it, lights them, and sets them down on top of the altar. Come here, orders Barnabas. Philip steps to the altar. "You know why you are here," says Barnabas. Yes, Master, says Philip, because I failed at what I was to do. "Do you know what must happen now?" asks Barnabas. "I must be punished," answers Philip--"but how, Master?" In time, says Barnabas, you will find that out. (This creeps me out so intensely--I'd rather know NOW!)

Megan is falling asleep in her chair at the shop. She rouses herself and checks the baby. Carolyn enters and inquires into Joseph's health.  No better, answers Megan worriedly.  Did you call the doctor? Asks Carolyn.  No, says Megan, I haven't called him. Ridiculous, says Carolyn, did you stay up all night with the baby?--no wonder you're in the shape you're in!  There's something you've got to do, insists Megan--stay with the baby. Of course, says Carolyn, reaching in to lift the baby from the cradle. Where are you taking him, demands Megan, upset. It's drafty down here, Carolyn points out, and he's so hot, I'll take him to his room. NO! shrieks Megan, forward, you mustn't take him up there--promise me you won't take him to his room while I'm gone. Carolyn promises. Megan leaves. Carolyn sits with the baby.

Barnabas gazes through the Old House window and spots Megan hurrying up the walk. He meets her outside and asks how the baby is. No better, she says--what happened to Philip, after he left with you last night, he hasn't been home since?  Strange, says Barn, he stayed with me only 15 minutes.It is strange, agrees Megan--I'm beginning to feel very frightened. You mustn't be, says Barnabas--perhaps he's only gone for some other merchandise--he will be back when it's time for him to get back. Megan's forehead wrinkles, and she walks away. Barnabas enters his house, an icy smile on his face, and closes the door. Philip sits in the drawing room.  , Are you beginning to understand what must happen now? asks Barnabas. Philip's eyes grow wide; he doesn't respond.

Carolyn is sitting by the baby when Megan returns. Where were you? asks Carolyn--did you find anything out?  Looking almost as crazed as Jenny, Megan says yes, someone's coming to kill me! She runs past Carolyn, adding, I've got to hide!  Carolyn grabs her--no one is going to kill you, she says reassuringly.  I don't know who, says Megan wild-eyed, but someone is!  You must listen, insists Carolyn--you've got a very sick baby here!  Let me go! Megan screams--"My killer's on his way!!!" She runs upstairs, hysterical, even as Carolyn protests--no one is coming to hurt you, or anyone. The front door opens and Carolyn stares, horrified, at who appears.

NOTES: I always wondered what happened to Philip at the altar, and if Barnabas did anything to "discipline" him. It was such a cold, awful scene, and Megan's paranoia is so different from the happy woman she started out in this storyline.

Who has entered the shop? Is it an intended murderer or has Megan just gone a little crazy?

Loved David here, he was so crafty about turning his aunt's attention from himself to his cousin. This reminds me of the David who played around with Roger's car and nearly killed his father by tampering with his brakes. That wicked smile he displayed when he left the room--priceless!

Barnabas continues to enthrall and repulse with his soulless demeanor.  The actor is a master in these episodes, and I love it.


896 - The antique shop door opens, and Carolyn, wondering if Megan's hysteria is legitimate, turns in horror to see who it is. She heaves a sigh of relief when she sees it's only Julia, who is puzzled by the intensity of Carolyn's relief. Carolyn explains that Philip's been gone all night and Megan returned in a terrible state, convinced someone is trying to kill her. It isn't true, says Carolyn, but for one moment, when the bell tinkled...Julia wants to speak to Megan, but, spotting the Naga box, she asks, where did it come from?  I neither know nor care, answers Carolyn, but that isn't the worst of what's been happening here--the baby is sick and Megan hasn't gotten medical attention for him. Julia offers to examine the baby, and comments on his peculiar birthmark. Megan races downstairs, screaming "No, don't touch him!" He's running a very high temperature, objects Julia, let me examine him.  Megan grabs Blanket Baby from the cradle and holds him protectively in her arms. No need to, she says--babies often run suddenly high temps. Julia agrees--but the cause can sometimes be serious, she adds. Crazed, Megan says, I have to take my chances with that, and begins to head upstairs--I'm going to dress the baby because we're going away--we have to!  No one is after you, Carolyn insists--you can't go until Philip comes home--can you? No, agrees Megan, suddenly calm. Where is Philip? asks Julia--that's what you're worried about, right? Megan smiles--there's no reason to worry about Philip, she says, he's out picking up merchandise and will come back when he's ready.Julia is confused by this abrupt change in Megan.  Carolyn asks, why didn't you tell me that before?  I'm taking the baby upstairs, says Mega--saying there's no need for you to look the baby, Dr. Hoffman.  Give him aspirin, please, says Julia (No Tylenol then.)  What's the matter with her? asks Carolyn. Her--or the baby? asks Julia. Both, says Carolyn. I don't know about the baby, says Julia, but Megan is terrified of something--I don't know why, but perhaps she and Philip have been working too hard in the shop; the strain of caring for the baby, triggering some hidden fear, who knows? I think it's criminal the way her sister left the baby and just waltzed off on vacation, opines Carolyn. Julia has taken the Naga box into her hands and is trying to open it. I have a good mind to find out where the sister is and call her, says Carolyn.  She notices Julia isn't paying much attention and asks, what fascinates you about this box? I saw it at Barnabas' house, replies Julia.  He sold it to the Todds, says Carolyn (gave it to them, but I guess Carolyn just assumes that). I didn't think it was something he'd sell, says Julia. Perhaps he changed his mind, says Carolyn--you don't think there's truth that someone is trying to kill Megan? No, says Julia, I don't believe it, nor do I buy Megan's claim that she isn't afraid for Philip.  I wish he'd come home, says Carolyn--Megan needs him.

David enters the drawing room at Collinwood and closes and locks the door. Amy's already in there, playing with her doll.  How did you come in here? he asks.  I came in when you went to the study, answers Amy--why did you lie to Carolyn about that book? I had to, says David--I was going to give it back, but then my cousin said how valuable it was, and now I can't return it. You can't keep it, either, says Amy, no matter where you hide it, someone will find it. I plan to burn the dumb old thing, scoffs David. Amy's eyes widen--you can't do that!  Yes, I can, he insists, and when it's a big pile of ashes, no one will know I ever took it. You'll only be making it worse for yourself, insists Amy, I know it. MYOB, orders David, taking the book from the desk cabinet. Amy tries to wrestle it away from him--give it to me and I'll tell Carolyn I took it! she cries.  (Pretty self-sacrificing of her.) No, says David, yanking back the book. It falls open on the desk.  David opens the book to a page of the coiled snakes--the Naga.

David stares down at the page, riveted. Amy speaks to him--give me the book, she pleads--I'll tell! You'll tell nothing, he says curtly, not sounding like a little boy anymore.I'm not going to burn it, he assures Amy, not now... What ARE you going to do? she asks. What I must, says--stand outside the door and make sure no one comes in while I'm reading the book. This startles her--you don't know how. Yes I do, he says. Read some of it for me, she demands. You're forbidden to hear it, he says. "I don't believe a word you're saying, David Collins!" she retorts. It doesn't matter whether you believe me or not, he says--stand guard!  I don't like this game, she complains, voice shaking, let's play another. This isn't a game, says David--now do as I told you. Without another word, she turns to do as ordered.  Don't say anything about this--to anyone, warns David. But you'll be caught, she says, Carolyn and her friends will know you have the book, you'll see. Yes, they will, agrees David, but says no more. Amy unlocks the doors, then closes them behind her. David sits down to study the book, reading, "And then those who have been hidden so long shall rise and show themselves, and the others will know their time has ended, and the time of the people of the Leviathan will begin..."

Antique shop - When Megan comes down, Carolyn asks, how are you feeling?  I took a nap, says Megan. Carolyn brings her a cup of coffee and explains, Dr. Hoffman thinks you and Philip are much more tired than you realize--it's the reason for your tension. Megan, toying with her cup, asks, where's Julia?  She returned to Collinwood, answers Carolyn.  I'm probably more concerned about the baby's condition than I realized, says Megan, but I did give him some aspirin, and I believe he's better. It might not be my place to say anything, says Carolyn, but I think your sister ought to come for her baby. "No!" says Megan sharply, the baby is my responsibility.Call her and tells her he's sick, suggests Carolyn, then she can make up her own mind what to do. No, says Megan, I can't call her. Why not? asks Carolyn.  She's...traveling, answers Megan. She must have left an address where she can be reached, insists Carolyn.  The phone interrupts them. Carolyn tells the caller, we did receive the telegram, and of course he can see the painting, but it's been purchased by Julia Hoffman--come to Collinwood at five--I'm sure she'll show you the painting--I don't know if Julia is interested in selling it. The caller does know where Collinwood is. That was Mr. Corey, Carolyn tells Megan--he's interested in seeing the Tate painting Julia bought from the shop--I apologize for taking over that way, but I feel you needs to take it easy the rest of the day. Megan looks lost. Carolyn asks, do you still think someone is after you, or considering running away?  Of course not, says Megan, smiling, but she doesn't sound convincing. I'm very grateful to you, says Megan.  I wish I could do more, says Carolyn, like find the book--it's as if someone were deliberately concealing something...

Collinwood - David comes downstairs. Julia exits the drawing room and asks, could you take a note to Barnabas for me?  He refuses--I have something.  It's important, says Julia--I have someone coming in a few minutes, and...  David reaches for his coat, explaining firmly, I have something else to do, and it can't wait until I drop off the note. David, she says, annoyed, but he leaves. Julia takes out her letter and reads, "A person who calls himself Corey will be here at 5 o'clock, that person could be Quentin Collins..." She leaves the house herself, frustrated. It's a quarter to five.

5:15 PM - Collinwood - Julia returns home and overhears Carolyn in the drawing room--I wonder why Dr. Hoffman is so late--"She was so anxious to see you!" She listens outside the drawing room door, eavesdropping on Carolyn discussing Julia's interest in Tate--and ever since she bought that painting...  Julia enters the drawing room and is stunned to see a woman who looks exactly like Amanda Harris!The woman smiles at Julia and greets her warmly. I had no idea the visitor would turn out to be Miss Olivia Corey, says Carolyn. Olivia apologizes--I did have the hotel clerk call for me, I find that if I identify myself too early in a business transaction, the price always goes up--but in this case, I really don't mind, as long as I get what I want. Smiling, Julia asks, just what is it you want, Miss Corey? Your Tate, says Olivia.  You probably don't want it, says Julia--it's not a PORTRAIT. Olivia looks wary, then smiles again and says, you are very perceptive, Dr. Hoffman. Handing Julia a cup of something, Carolyn asks, what is this all about?  Tate did a great number of portraits of a woman who looks extraordinarily like Miss Corey, explains Julia. That's how I started collecting his paintings, says Olivia--those lovely portraits of me, vain, but we actresses ARE vain--we wouldn't be on stage if we didn't admire ourselves so much, would we? She rises and asks, may I see the painting?  It's a landscape, says Julia.  Olivia assures her, I've broadened my interests to include ALL of Tate's work. OK, says Julia, and takes the painting from its place beside the desk. She hands it to Olivia and says, it's not for sale. Everything is, says Olivia, sooner or later. Perhaps it will be later, but not now, insists Julia. Carolyn apologizes to the actress.  Olivia admits--I'm terribly disappointed--Miss Stoddard, can you call a cab for me?  Carolyn leaves the room to do so. It's curious, remarks Julia--I've seen you onstage, and seen photographs of you in newspapers and magazines, but never noticed your extraordinary resemblance to Amanda Harris--quite unique. Olivia looks at her and says--not really--Amanda Harris was my grandmother. Who was your grandfather? queries Julia. Olivia laughs and asks, are you interested in genealogy as well?  I really want to know, says Julia. His name was Langley, reveals Olivia (shades of Edmonds' role on AMC?) Oh, says Julia. Olivia notes, you seem almost disappointed. No, responds Julia, of course not. I find it strange that you knew my name was Amanda Harris, says Olivia, it was never mentioned in conjunction with any of Tate's works, I knew her name, of course, but how did you? You must be mistaken, says Julia, I must have read it somewhere, I'm sure. I suppose so, says Olivia, who turns to admire the paintings above the mantle, commenting on how interesting they are. Are you interested in those, too? asks Julia. Mostly turn of the century portraits, says Olivia, I'd love to see any family portraits done at that time. I'm afraid you'll be disappointed, says Julia, there are no portraits of Quentin Collins. (ZING!) Am I supposed to know who that is? asks Olivia--sorry, I've never heard of him. Carolyn returns--Olivia, your cab is here.  I think we could learn a great deal about art from each other, Olivia says significantly to Julia. She leaves, Julia looking after her speculatively.

Leviathan altar - David approaches it, staring at it in wonder. "I am one of you now," he says. Thunder and lightning fill the sky. The altar parts, revealing a hole at the base. David kneels and crawls inside it. The two halves of the altar rejoin, seeming to swallow the boy...

NOTES:  Where has David gone?  What will befall him there?  How did he become "one of them" so easily?

Who is Olivia?  Is she Quentin's offspring?  Amanda Harris herself, posing as her own granddaughter?  Why is she so interested in Tate's paintings?  Is it Amanda's--or Quentin's--that truly interest her?

Megan is behaving weirder and weirder.  What is this responsibility doing to her?  And why was only Philip made to pay for whatever happened to the book and not Megan?

Love, Robin

890 - Julia works to open the box, but Barnabas appears.  "JULIA!" he yells. He advances on her, ordering her to get her hands off that and get out of this house. She says she was just trying to understand, but he cruelly says he doesn't care if she understands or not--is that clear? Gazing hard at him, she says something is wrong with him; they've been friends too long... Only because he didn't know what she was capable of, he says. She was trying to find out what's in the box, that's all, says Julia, what IS in the box? Stop interfering, orders Barnabas, give up your curious belief that you have the right to know everything about me. "Now go!" Julia refuses, saying that perhaps she was wrong to find out what was in the box... Barnabas doesn't care to talk to her about it. She says he will, he owes her that much. "I owe you nothing!" he says. Julia says she wants to help him, she knows something is terribly wrong--he's changed. Barnabas curtly says he's lost his patience with her, and doesn't care to have anyone around who's going to betray him. Stung, Julia says he'd never have spoken to her that way before he left. He would know if she were doing something he disapproved of, he'd understand why. He's tired of understanding, he says. "What's changed you, Barnabas?" asks a clearly heartbroken Julia, "I can't forget how close we've been, even if you can, Barnabas--you can't blame me for wondering what's happening. I'll go now."  Wait, he says. For what? she asks.He realizes she understands so much, it would be foolish of him not to understand more--"Forgive me." Traveling through time has taken its toll--has she forgotten what it felt like when she traveled back to 1897? Looking at him sharply, she says she was very ill, remembered nothing. Perhaps this mood of his is his reaction, he can think of no other reason why he'd quarrel with an old friend. Relieved, she says, "Barnabas, we are friends, aren't we?" Of course, he says. The box frightened her, she says. Because he hasn't explained what's in it, he says. No, because when she saw it before, it sounded as if breathing were coming from it. Smiling, he tells her she has an overactive imagination, she sees something sinister in everything she looks at. Julia grins, but then Carolyn runs in, calling for Julia. Seeing her cousin, Carolyn hugs him, and he responds with far more  warmth than he did with Julia. I've missed you, he tells her, and he's all right. They were very upset when he disappeared, says Carolyn.  When he came out of his trance, he was as shocked as he was to find himself out of this house, but now he's back and himself again. Oh, Barnabas, says Carolyn, hugging him again. He asks what she's been doing since he was away, and she gets a weird, furtive look on her face, almost as if she's scared. Julia asks her what's wrong. Carolyn says she won't bother her about it now. Julia reminds her she came here looking for her. I've seen Sabrina Stuart, says Carolyn--she sent for her. How, she can hardly speak? says Julia. She can say more than you think, says Carolyn, she warned her about Chris. Julia exchanges a look with Barnabas, and says she should tell her what she said. That Chris Jennings would kill me, replies Carolyn. Julia asks if she said WHY he would. Julia! Cries Carolyn, surprised at her question. Grinning, Julia says, Sabrina is in love with Chris, just jealous, that's all. Is she, asks Carolyn, somehow, she found herself believing her. Follow your instincts, my dear, Barnabas advises. Why do you say that? asks Carolyn. Because I believe in instincts, he tells her, there are far too many tragedies here--nothing must happen to you, not now, and we must make quite sure nothing ever does.

Antique store - Philip comes downstairs, asking Megan if she's coming up. Megan wants to call Dr. Hoffman, but Philip says they decided it was too late. Megan thinks she's be interested, it's a telegram. And that's always a matter of life and death, teases Philip, putting his arms around her waist (I love how affectionate these two are, the Collinses tend to be a cold bunch). Always, she agrees. How did he ever marry her, given that they are living in the 20th century (!), the most exciting century the world has ever known (he kisses her cheek), they're sending men to the moon--and she's so old-fashioned, her hands tremble when she opens a telegram. True, she says, how can you love me? That's easy, he says, very easy and very nice, too. He smooches her neck, and she stares at the telegram. Call Dr. Hoffman, he says, then let's go to bed! she looks up the phone number and dials. (black phone with a dial, how weird). Julia answers, and Megan tells her she wishes to speak to her in reference to the Tate painting--could she drop by the shop tomorrow? She just wants to discuss it with her. Julia agrees.

At the Old House, Barnabas holds the Leviathan box, thinking to himself that Julia is too curious, and if she is, others will be, too--when will the time come? Will I simply know it? Will I? He walks away from the box, looking at it from the other end of the room.

Antique Shop - Megan opens the store for the day. Philip, kneeling next to a beautiful wooden cradle), tells Megan that, much as he hates to admit to making a mistake, the day he paid $30 for it...I tried to stop you, teases Megan, kneeling beside him, putting her hand on his shoulder. Philip says he had visions of newly married women knocking each other to get to it. Most women want new things for their babies, says Megan, smiling at him.He supposes she's right--and he marks the cradle down to $32.50. Who could resist it, he asks, it will be sold before the day is out. No doubt about it, Megan says, with sarcasm, and he says he hates sarcastic women. "Darling, I meant it, I swear I did," she says, putting he hands into a praying posture. All right, he says, he believes her. Julia comes in, probably catching them in mid smooch, and says she hopes Megan didn't call to tell her the portrait was a forgery. No, says Megan, it's a Tate, but she received a telegram about it--someone else is interested in the picture, willing to spend any amount of money for it. Megan rushes to get the telegram, and shows Julia that price is no object. From New York, says Julia, how fascinating, that this Mr. Corey is making a special trip to see it.  Megan asks if she's willing to sell it, and Julia says she doesn't know--no, she doesn't think she is.  Megan tells Philip they should call Mr. Corey, tell him not to come, but Julia says not to, she wants to meet this man, and she suspects others would be interested in meeting Mr. Corey as well.

Carolyn sits by the fire in the drawing room. Barnabas enters, looking pale and up to no good. He regards her speculatively, then greets her.  He was worried about her after she left last night, he says, she was so upset. Carolyn doesn't know if she's being silly or not, but Chris called her this morning, and she had Mrs. Johnson tells him she was out. Perhaps that was best, suggests Barnabas--Ned Stuart blames Chris for what happened to his sister; when she was seeing Chris, she was still young, as vital as Carolyn. What could Chris have done? wails Carolyn (sounding like a radio voice suddenly), she just doesn't understand, and it makes her wonder--he's so guarded, as if he were hiding something. "I think you should assume that," says Barnabas. Does he mean that, she asks. Yes, says Barn. What could it be, asks Carolyn. He's been behaving so peculiarly since her arrival here, points out Barnabas, they all had great difficulty in getting Chris to see his own sister. there are so many unexplainable things about Chris, agrees Carolyn, and yet... You like him, finishes Barnabas. She nods, saying once or twice, she even thought she was falling in love with him. I hope you're not, says Barnabas. Why, she asks. It would be a mistake, he says. How can he know that, she asks. He simply feels it, he says. No, you know more, don't you? she asks. "I know there will be a love for you in your time," says Barnabas gently, "a love that will be much much more meaningful than any romance you could have with Chris." You sound so definite, says Carolyn, how can you know the future? About your future, I'm very certain, says Barnabas. Carolyn doesn't remember his always having been. Aren't I allowed to change? He asks. Yes, she says, grinning, of course he is. She pours herself a drink. Barnabas is holding a jewelry box in his hand, saying he has a gift for her--he found it at the Old House. Her morale could use it, she says. She opens the box and finds a five-pointed star. It's a pentagram, says Barnabas, wear it--always--will you? Always? she asks. Yes, as a favor to him, he asks. Yes, thank you, she says. He tells her it's a good luck charm, really, it will perhaps bring her the love she so well deserves. In a serious tone, she asks him if he really thinks she shouldn't see Chris. He tells her she shouldn't do anything that would cause her harm--and he does believe Sabrina--she isn't jealous, and Carolyn is far too important to have anything happen to her--wear that charm, and he will feel much better, he tells her.

Julia, having just bought a brooch, tells Philip his shop has so many interesting things. They scrounge the neighborhood for them, he tells her. He promises to let her know when Mr. Corey comes. Carolyn enters the shop, saying she's here to buy something. If it wasn't for Carolyn, they'd be out of business, remarks Philip--what do you need? Carolyn examines the brooch Julia has brought, then shows him the star Barnabas gave her--she needs a silver chain for it. Julia, taken aback, asks Carolyn where she got that. Barnabas, says Carolyn. It's charming, says Julia. Carolyn explains that she's always to wear it, and it will bring her luck, which she sorely needs. Carolyn asks her to wait for her, but Julia suddenly rushes from the store--there's something she must do right away. She leaves. Philip brings over a bunch of chains and tells her if she picks out the most expensive one, she can stay to dinner--Megan is making her famous clam chowder, they'll open a bottle of wine, and celebrate a little Carolyn asks if it will improve her mood, and Philip assures her it will. She agrees, choosing a long silver chain, holding it up over the star--that will be fine, says Carolyn.

Old House - Julia asks Barnabas why he gave Carolyn the pentagram. To protect her from Chris, says Barnabas. She knows Chris is a problem, says Julia, but she thinks she can handle him. How, he demands, he may change at any moment--the full moon notwithstanding. They can take him to Windcliff, she says, and the moment he changes, they can confine him there. Do what you want, I'm busy with something else says Barnabas. Too busy to hear about Quentin Collins? asks Julia. This catches his attention. She thought that might interest him--that Tate painting she bought, the antique store got a telegram about it. Well? asks Barn. Could be from Quentin, says Julia--it's signed by someone named Corey   came from New York, but whoever this Corey is, he wants that Tate badly. Barnabas calls her irrational. Julia says they know the significance of the Tate portrait of Quentin, and that the latter is alive somehow. Do we? Demands Barnabas. Beth saw him in 1969, Julia reminds him, that's why Petofi wanted his body, so he could be here. That was before the portrait was destroyed in the fire, says Barnabas, Tate himself said he saw it burn. Julia says he could have been lying; Quentin could be alive and looking for the portrait, buying up ever Tate he can find, to find that one. Barnabas insists she's putting far too much importance in that telegram, odds are that the fire destroyed the portrait and Quentin dead years ago. He brings over her coat, helps her into it and tells her to please leave--he has things to do. You don't really care whether Quentin is alive, do you? she asks. Barnabas, what has happened to you? She seems near tears, and angrily leaves the house. Barnabas waits a few seconds, then goes over to the box. It is time, he tells himself. He sits in his favorite chair. We hear breathing emanating from the Leviathan box, and see flames, then the altar in the woods. Barnabas is there, making hands gestures, calling to Oberon, who appears, calling him Master. Barnabas is in need of his guidance, tell him, man of earth, how he will know the chosen ones--tell him so he will make no mistake in this most important moment in time. One will wear the sign of the Naga, says Oberon, and they will come to you--you will hear a knocking at your door, will wake you from your sleep, when you open the door, they will be strangers, but you will know them.And I will know to trust them, to lead them through the mysteries that will make them respond, and do what they must do if all is to go as it must. Oberon tells him he will know the sign of the Naga, the sudden knocking at the door.

The vision fades, and Barnabas is awakened by a knock at the door. The chosen ones! He tells himself, and walks to the door to open it.

NOTES: Could Barnabas have been any colder to Julia? It breaks one's heart! And how foolish of the Leviathans not to make him assume the same friendly role he had in her life before! Julia was suspicious immediately, and the Leviathan powers that be would have been much smarter to make everything appear closer to normal.

I love Megan and Philip. They're so obviously happily married, and the way they tease each other so natural and fun. They were the most normal people on the show, but not for long, unfortunately.

Who are the chosen ones? I'm sure you already have figured it out.

Barnabas' sudden interest in Carolyn is very creepy.

I don't like Sabrina, never did, never will. Her mouth is bizarre and whether she's got gray hair or brunette, she's one of those characters I simply never liked. Comparing her to Carolyn is like a moth and a butterfly.

Now you know why Dennis Patrick called what's in the Leviathan box the giant lung, LOL.

Who is Mr. Corey? Is it Quentin?

Stay tuned for all the answers!


891 - Someone knocks at Barnabas' door, and he thinks, "The chosen ones!" He rises and goes to the door (he looks great in that red smoking jacket). It's Philip and Megan Todd who've come visiting, and they look around Barnabas' home with glee--all these antiques!

Barnabas, looking nasty and spooky, offers to take their coats.  They introduce themselves, and he immediately notices that Megan is wearing a necklace with the sign of the Naga on it. He tells them he's heard of their antique store in town. Carolyn told them to come see him, says Megan, and they would have called first, but he has no phone.  And they're naturally impulsive, adds Philip. Barnabas is very charmed they've come, and admires Megan's locket. Philip explains that he found it in an odd lot he bid on at an auction. Barnabas asks if he knows the meaning of the symbol--it's the sign of the Naga, the creature without a soul. Megan says she isn't sure she likes that. don't worry, says Barnabas--the same sign is carved on that box over there. Megan goes to check it out, as does Philip, who says he's never seen one like it. It must be incredibly old, comments Megan, and Philip can't guess what country it's from. Megan asks Barn if he knows where it's from, but he says he knows little about it--it was given to him. Surely whoever gave it to you must have told you, says Philip, but Barn says noHe's never looked inside, and asks them if they think that strange. Megan smiles and says they're very curious people. Philip asks if he'd consider selling it, but Megan tells her hubby they could never afford it. Barnabas doesn't want it in a shop, but they assure him they would never do that with it. He tells them he can see they are true collectors, and that they will discuss it another time. He says he has some things upstairs that he might give away. Philip follows him to the stairs, but Megan lingers by the box, fascinated. Philip wants to see the potential freebies, but has to remind Megan to come along. They are just simple American pieces, says Barn, about to follow them upstairs, but there's another knock at his door, and he tells them to go look for themselves, he'll be with them in a moment. You're very kind, says Megan. Barnabas' visitor is Elizabeth, who hugs him and tells him he's been very naughty, not coming to see her, making her come to the Old House to welcome him back. He apologizes, saying he's been wanting to talk to her. How does he feel after his ghastly experience? she asks. Barn doesn't want to talk about it. The ghosts are gone now, says Liz, and if he had anything to do with it, she's most grateful--he can't imagine how happy she is that he's back--she came to ask him to dinner tomorrow night, just family. Will Carolyn be there? asks Barnabas. Of course, says Liz. With Chris Jennings? probes Barnabas. She hasn't asked him, says Liz, but will if Barnabas wants her to. Oh, no, says Barnabas, he knows it isn't his place to discuss Carolyn with her, but he thinks she's seeing too much of Chris. Liz explains that she's always allowed Carolyn to make her own decisions in such matters. Barn thinks in this case, Liz shouldn't be so lenient--there's far too much mystery to Chris, and his instincts tell him that Liz should find out where he goes during his mysterious disappearances--it happens at least once a month. Concerned, Liz says she feels as he does. Barnabas excuses himself, saying he has company--Carolyn's friends from the antique store. Liz says they are a charming couple. Barnabas says they will be a great asset to the town. Liz promises to think about what he said about Carolyn. As Liz leaves the house, the gray-haired man that Julia and Carolyn saw hides behind one of the columns. He watches Liz go.

Megan and Philip come downstairs and the latter tells Barnabas he has many things they can use. Barnabas asks him to make a list and he'll come up with a price. Megan, standing by the Naga box, eyes it longingly. Philip tells Megan they shouldn't keep Mr. Collins any longer. I know, says Megan, not moving away from the box. Barnabas comes over to her and says he thinks that's her favorite amongst all his pieces. Megan agrees, but doesn't know why. They must get back to the shop, says Philip, and Megan agrees. Barnabas assures them they will hear from him very soon--very soon indeed. Megan thanks him and he sees them out the door. He's smiling evilly as he goes back to the box and touches it.

6 PM - Maggie, wearing a pretty mini-jumper, comes downstairs and greets Liz, who has just come home. Maggie reports that David is doing his homework, Amy's finished hers, and she doesn't know when she'll be back. Liz wishes she'd let her send Mrs. Johnson with her, but Maggie assures her the other tenants were very good, she's sure the house only needs straightening up. With the new people moving in tomorrow, she just wants to check things out. Liz asks Maggie if going back to her old home will bother her, but Maggie, buttoning her coat, doesn't answer. Liz tells her she's been such a great help to them, she barely remembers her living with her father. Maggie says she won't be gone long. The phone rings and Maggie answers. The mustachioed, mysterious man, calling from a phone booth, asks for Mrs. Stoddard, and Maggie hands Liz the phone. Liz says hello, but he doesn't answer.She tries a few more hellos, but the man just hangs up the phone.

Liz is perturbed; that was strange--whoever it was hung up. It was a man, says Maggie, but she didn't recognize the voice...odd.

Antique shop - Philip tells Megan they need less merchandise and more customers. Megan is thoughtful, and Philip observes that she's thinking of something very important--he can tell. Megan, polishing a silver candelabra, says not at all, but he insists she tell him. She wants that box. He chuckles, saying she already has it on a table in their bedroom. She denies this, laughing, saying she knows they will never own it. We see the Naga necklace hanging on her bosom as she puts her arm around Philip. It's silly, she says, holding the Naga sign between her fingers, "Count your blessings, Megan Todd." Include me as one? he asks. I have almost as high an opinion of you as you do, teases Megan. They smooch and she looks at him lovingly. Barnabas enters the store, box in hand--he told them he'd be back soon. He tells Megan he has a present for her. Philip insists they couldn't accept it, and Barnabas asks if he's in the habit of depriving his wife of something she clearly wants. Megan looks hopefully at Philip, saying she does adore it, but it's much too grand a present. Barnabas says there's a legend to it, and she must take it. What's the legend, she asks. That whoever gives it will get what he wants in return, says Barnabas, so she's doing him a favor. Megan thinks he just made up the legend.  Please take it, urges Barnabas. Please say yes, Megan begs her hubby, dubbing him the proud one. They'd be delighted to have it, says Philip, and Megan takes it from Barnabas and walks away from them. Philip says they must pay him something, but Barnabas says out of the question--he wouldn't know what to ask, anyway. Megan thanks him, saying she will always treasure it, and will be more selfish than him--she'll never give it away. Barnabas says he hopes she never changes her mind, and the tone of his voice causes Philip's forehead to wrinkle.

At the cottage, Maggie's cleaning up. Someone knocks at the door, and she trips heading to answer it. It's the mysterious man, who asks to see Sam Evans. My father? asks Maggie sadly, and introduces herself. "I'm sorry, my father is dead," she says. He just came back from New York, he says, he didn't know. It's been more than a year now, says Maggie, inviting him in. He is sorry, truly, he says, he and Sam were old friends. She doesn't remember him, does she? He remembers her as a pretty little girl, and that hasn't changed. He surveys the cottage--it's so funny being back in Collinsport, everything is the same, but different. He asks if she lives here with her husband, and she says she isn't married--she lives at Collinwood (so forthcoming with a stranger, our Maggie). He looks at her--Collinwood? She's David's tutor, she explains. He repeats Collinwood, and she asks if something is wrong. He and Sam were good friends, and he'd like Maggie to be, too--he needs a friend, desperately. She looks at him, unsure.

Maggie goes over to the window, assuring him that if he's a friend of her father, she'll be glad to help him in any way she can (was that drawing on the window sill before?) He has questions--who's living at Collinwood right now? Mrs. Stoddard, David, Carolyn, Roger, she tells him. What is Carolyn like? he asks. She doesn't want to answer more questions, these people are friends of hers, Mr.¢â‚¬¦ Just tell me, he asks, not filling in the blank for her--what is Carolyn like? I love Carolyn, says Maggie flippantly, she's nice, kind, generous, charitable. You aren't describing a true Collins, he says. She says she doesn't know what he wants to know or why. She can help him, he says, but she doesn't see how. He'll tell her--if she can keep a secret. Perhaps it's a secret she shouldn't know, she says. Perhaps, he agrees, but she seems to be the one he should tell. She doesn't know why, but he says she's the only one there is--that's the first reason.All he must consider is can he trust her, as he would her father. She looks at him.

Barnabas leaves the antique shop, telling the Todds to call him Barnabas. Megan again thanks him for the box, promising they will find out all about it. Barnabas is sure they will--quite sure. He won't keep them any longer--if there's anything on that list you want from the Old House (Philip is holding an envelope), please let him know, and they will arrive at a price. Barnabas predicts they will see a lot of each other, he has an unusual feeling about that. I hope so, says Megan fervently, stepping on his line. Such a lonely man, says Megan after Barnabas leaves. Philip is examining the box. I like him, don't you, asks Megan. He's miles away, and she asks him what is it. Just wondering why Barnabas gave them the box, says Philip. Because he wanted them to have it, says Megan. If an old friend or relative gives you something, says Philip, that's one thing, but a total stranger... He wanted them to be friends, says Megan. WHY? asks Philip. Darling, darling, what's the difference, asks Megan, it's just a box! They both wanted it and Barnabas saw that, and it meant nothing to him, and he knows they will treasure it. She loops her arms around his neck, asking if he's going to be suspicious about a gift. He guesses not, if it will make her happy. They kiss, standing with their arms around each other.

Maggie returns to Collinwood, telling Liz the house is in good shape. She asks for Carolyn, but she's in town, says Liz. Maggie says she'll talk to her in the morning. That man never called back, says Liz, and it's silly to feel nervous about such a thing. Maggie says she doesn't think she should let it, and bids Liz good night.

The Todds close up the antique shop, and Megan tells her husband she wants to open the box. Philip agrees they should discover its secrets, but they find it locked--and no key. Force it, says Megan (possibly break an invaluable antique? What kind of collector is she--hasn't she heard of mint)? Philip tries, but can't open it. Megan lifts it up, listens, then calls Philip over--she heard something in the box, and it sounded alive. There can't be anything alive in there, says Philip, but Megan definitely heard something. It must have been the warping wood, the box is very old, says Philip. She wants it open, but he says he tried and they couldn't. He wants to check Barnabas' list, hoping he's willing to sell that Hitchcock chair he saw. In the envelops, Philip finds the key to the box. He holds it up. Megan is thrilled, but Philip has a feeling that if they open it, things will never be the same. Megan doesn't understand him, and he doesn't understand himself, but that's the way he feels. What could be in the box, demands Megan--they have to open it. Philip agrees--they do--and when he unlocks and opens the box, it sounds as if someone or something flies out--there's a whoosh. Philip says it sounded like something came out.Spooked, Megan says she didn't see anything. She tells Philip to open it, once and for all, they must find out what's in there. He opens it, and a strange, unearthly humming issues from inside...

NOTES: At different times, Philip and Megan have doubts or premonitions about what's happening to them. Too bad they don't listen to them. When that thing whooshed as it left the box, it was creepy as hell.

The mysterious man (Paul Stoddard) has now enlisted Maggie's help, but for what? He's connected somehow to the Leviathans, we know that, but in what way? Maggie seems to have decided to trust him, but he was asking so many questions without even wanting to give her his name, no wonder she was suspicious. She should have remained so.

Love, Robin

I realize I'm a bit late, Michael, and I apologize for that, but you know my motto:

Birthdays are to be celebrated for a minimum of a week!

Love, Robin

884 - Barnabas returns to the blackened ruins of Tate's studio to see "whose lives are ruined, and which changed forever," according to the intro. He finds Petofi's watch, and wonders what it means--was he destroyed in the flames--is this all that remains? Difficult to believe, yet we must--no one could survive a fire like this--or could they? He lifts up a length of chain, then drops it. As he leaves the studio, he finds Petofi's glasses outside on the ground. He picks them up and feels a hand clutch his shoulder...

It's Charles Tate, who is furious--"You did it!" he accuses Barnabas--all of you with your schemes and plots destroyed my studio and destroyed my work! Charles enters the studio.  Barnabas follows, expressing his sorrow. Get out of here, orders Charles, or I'll kill you, I swear I'll kill you. I can't go until I know whether Petofi is dead or alive, insists Barnabas--as far as I can tell, he and Garth were in this fire when it started, and there's also evidence they died in this fire--but I also found the glasses. If he is alive, says Charles nastily, he couldn't get very far without those, especially with that creature after him. Do you think Garth was after him, asks Barn, or did the fire reclaim the Master of Dartmoor? I don't know, answers Tate, and believes none of us will, and besides, I don't care. Continue to paint other portraits, urges Barnabas. Charles picks up a tattered canvas and says, I cared a great deal about some of the portraits destroyed here! And there was one particular portrait someone else cared about, says Barn.  Quentin Collins, says Tate, we're back to that. Was his portrait here? asks Barn. I did steal the portrait, he confesses, believing it would do me some good, but now it won't do me or Quentin any good.This pleases Charles. Then the next time there's a full moon, says Barnabas..."You'd better stay away from Quentin Collins," advises Tate. There has to be a way of stopping it from happening, says Barn--you must paint another portrait of Quentin, you must--if you did it before, you can do it again (but what about Petofi's power, if that's not there, then what happens?)  Quentin isn't my favorite person, says Tate--I'll tell you what--I'll do it, tonight, about 10 o'clock.  Is that time enough for you? asks Barn. Charles grins--there's no questions about it, he says.

Trask, not looking at all well, tells himself, I'm down to my last candle, and once it goes out, there will be everlasting darkness. Is it dark now, or day? Which day? Is the sun shining? I wish I could see the sun, I remember i used to put the students in a dark room to punish them. Some were afraid of the dark, and they'd scream...let me out! Trask himself begins to scream, "Let me out, I'll be good, I promise!" The phone rings; his eyes fill with hope. Judith, don't hang up, he cries, don't go away. I'm not going anywhere, she promises, neither of us is. You can't commit murder, he protests, it's a sin, and wrong!  She smiles, reminding him, it was wrong of you to kill Minerva, and Mrs. Curry in Fall River. I didn't kill them! cries Trask.  And I won't kill you, says Judith, I swear I won't come near you--goodbye, Gregory.  Please listen, he begs--I'm cold and hungry, please, you've punished me enough, whatever I did to you isn't bad enough for you to do this to me. You're right, says Judith, always right, and that's why I have a surprise for you--go to the alcove and look behind the drapes--he'll find something to brighten that dark room.  "Goodbye, Gregory," she says, and hangs up with a sly smirk. Trask checks the alcove and finds the portrait of Amanda. In a fury, he destroys it.

New York -  Quentin has located Amanda.  He goes to her hotel. She joins him, running into his arms.  I should ask questions, demand explanations, she says, delighted, but I can't--I'm so glad to see you again, and all I care about is that we are together. Gently, he says, "We won't be together." Why not? she asks--because of what I am? No, because of what I am, he says--I didn't meet you at the station because I had to find a very important portrait that controls what I am--without it, I become a monster capable of killing anyone, including the person I love. I don't believe it, insists Amanda.  You must, because it's true, says Quentin--that's why I can neither marry nor stay with you until I find the portrait. You can't just go away! she protests. I know it hurts both of us, says Q, but I'll hurt you so much more if I stay--that's why we must say goodbye.Amanda looks miserable at this prospect.

Kitty comes downstairs at Collinwood, bags packed. She is about to make a call when Judith comes into the foyer, asking what's with all the luggage? Guiltily, Kitty says, I'm leaving Collinwood--I don't know where I'm going, but I am leaving forever. Judith is shocked.

Isn't this very sudden? Judith asks.  Yes, admits Kitty says yes, but I've been thinking of it quite sometime. Judith is amazed--I can't imagine Edward just letting you walk out of here. Edward doesn't know, reveals Kitty, and I'm not going to tell him. He's done a great deal for you, Judith reminds her. I know all that, says Kitty, but I also know I'm suffering from a serious condition I can't share with anyone, particularly Edward, who's a dear, foolish man, better off without me.  She slips off the ring Edward gave her and says, "Someday he'll find a girl more worthy of this ring than I am--and I wish her happiness, whoever she is. She hands the ring to Judith.  I'm sorry we won't be sisters, says Judith--I admire people who can face the truth and do something about it--I'll arrange for a carriage to take you to the station. Kitty thanks her. Judith leaves. Kitty walks over to Barnabas' portrait and asks, "Did you hear what I said? I'm never coming back here--when I leave, it's forever, to live my life, for all my life--I've got to live my own life and you've got to let me do it, do you understand?" Josette's music begins to play while Kitty is speaking.  She covers her head and runs out, leaving her luggage behind.

4:30 - Judith writes to Tim, telling him the plan she's been working on is coming along most satisfactorily and should be completed soon. Tomorrow I want you to come here, take down the bricks, and panel the anteroom so it's completely cut off from prying eyes forever. She grins with pleasure.

Josette's room - Kitty holds up a candelabra and speaks to the portrait--whatever link exists between us must be broken now--I'm going away, and not coming back, to live my own life, and you can't come with me--please, let me be myself, I've got to forget Josette duPres. She replaces the candelabra and hears Josette speaking to her, "Kitty Soames...it is Kitty Soames you must forget..."  Barnabas enters the room--Kitty! He calls.  Don't come near me, demands Kitty, I can't fight both of you.  Then stop fighting and running away, urges Barnabas--that's why your bags were packed, you were running away? Yes, she admits. I know how frightened you are, he says, but you must know I would never do anything to harm you. She looks at the portrait and asks, can you say as much for her?--no, you can't, because you know both of us can't live, and if I stay here, it will be as Josette duPres, a girl who died 100 years ago--that's why you've got to let me go! She runs past him, but he stops her and asks, do you want to go live amongst strangers, where no one will love you as either of the two women?--no, you must stay here and let me help you--"Will you marry me?" he asks.  Kitty's eyes grow huge.  Does the idea terrify you, too? he asks.  She considers a moment and says no, it doesn't, I understand somehow that it's what I must do, whoever I am. Then you will marry me? he asks. Yes, she says, as soon as possible. I'll arrange for the wedding this evening, he says, overjoyed. Yes, Kitty agrees eagerly. Wait until I return, he says. I'm afraid, says Kitty.  No harm will come to you, he assures her. I hope not, says Kitty. He squeezes her hands, then leaves his bride to be. Kitty looks very uncertain.

Trask gazes at his last remaining, guttering candle, knowing it will soon go out, soon be dark--I don't want to be alone in the dark!  Come to me, Minerva, he begs--I can't come to you, I don't know how--I have no gun or rope, or knife, nothing, she took everything from me, Minerva! Judith phones him again, and he answers, sounding as if he's teetering on the edge of insanity.  "MINERVA??" Gregory, says Judith, do you miss me a great deal? I want to come to you, Minerva, he says. "And you can," she says, "all you have to do is look in the desk, the top right hand drawer-- there is something in it that's very valuable for you--go find it and do whatever you want with it--it's all yours!" She hangs up, as does he. He searches the desk and finds a gun tucked in the drawer. He looks at it...

Judith has found Kitty's bags on the floor in the foyer and wonders where she is.  I know where she is, Barnabas assures her--she will be all right--I pray--when she marries me. How can this be, what will Edward say? demands Judith. Barnabas, ashamed, says, it no longer concerns Edward--whether Kitty marries me or not, Edward has lost her. He'll be very upset, warns Judith, when he hears. That's why he must not know until we are married--this evening, says Barn. So quickly? asks Judith. Yes, says Barn, after the ceremony, we will come back and tell Edward, then leave Collinwood immediately--as much as Collinwood means much to both of us, I know we can no longer stay here.  Where will you go? asks Judith. (and WHEN?)  Wherever we go, promises Barn, neither you nor Edward will ever have to be concerned about us again.  This is incredible, says Judith--you just met Kitty! "  I feel as if I've known her forever," says Barnabas. Judith looks concerned.

Old House - Kitty wonders, why did I tell Barnabas I'd marry him--why, it's SHE he wants, not me!--I'm not her, and won't be her! She gazes at the portrait.  The music begins to play. He knows I won't be her, says Kitty, he understands, he's the only one who can understand, help me fight-- Barnabas, where are you, I need you!

Barnabas returns to the studio to find it deserted. Tate has left a note pinned to a burnt rafter. By the time you read this, I will be far from Collinsport--my work has not been going well here, and I suppose it's time to move on--find new scenes and new subjects. Sorry about Quentin's portrait, I know you'll understand. Barnabas angrily crumples the note and says, I understand, all right--Tate hated Quentin, and this is his revenge!

Judith phones Trask in the room, but, receiving no answer, smiles with satisfaction.In the room, Trask lies slumped in the chair, gun in his hand, the victim of a successful suicide.

Kitty paces Josette's room. Of course I'm upset, it's my wedding night, my marriage to a man who is little more than a stranger. How long have I known him, really? Where is he? Why doesn't he get back here, it's our wedding eve, the eve of my wedding, and look how I'm dressed--I must find something more suitable. She looks in the trunk at the foot of the bed, finding a sheer white dress. This will do, she decides. NO! she cries, holding the dress against herself, "If I do what she wants done, this will make me Josette duPres forever!  I can't put it on, I can't!  She tosses the dress down and sits in a chair, calling to Barnabas--where are you, I need you!

Woods - Barnabas hears Kitty calling to him and begins to run.Kitty thinks to herself, I must hurry and get ready, he's on his way. She's put on the white gown she found. "What am I doing?" she asks herself, feeling the material--why did I change my dress, I know I mustn't!  She begins to drift into Josette's portrait, her body growing ethereal, ghostly. She's startled at what's happening. Barnabas enters the room just in time to see his fiancee meld into the portrait  Kitty! he cries, reaching for her hand, and she reaches out for his...

NOTES: So much happened in this ep! Wow! Trask bit the bullet (and how odd that he asked for his murdered wife to help him, and even thought Minerva was calling him on the phone; guess that proves there is a conscience in Trask, after all), literally, Tate screwed over Quentin, we wonder if Petofi/Blackwood is really alive or dead, Kitty breaks her engagement to Edward and accepts Barnabas, or is that Josette: Judith gets her revenge, Barnabas convinces Kitty to marry him, Quentin tells Amanda it's no go until he finds his portrait, and we never do learn what became of it--was it burned? Quentin isn't sure he won't turn into a werewolf, so rather than risk her life, he gives her up, to their sorrow. We never learn what happens to Charity or Magda, which always strikes me as unfair, but they do appear to avoid being part of the carnage.

Will Quentin become a werewolf?

Will Barnabas win his Josette clone?

What will the upcoming storyline bring?

After a brief foray into 1796, we will begin with the Leviathan storyline, which has its detractors and fans. Make up your own mind about it, folks, it's only fair!

Farewell, 1897!


885 - "Josette!" cries Barnabas, reaching for her hand.  Together, they fade into the portrait and disappear. We focus the portrait of Josette, then see Barnabas lying on the ground, dressed in his 18th century clothing. It's thundering and lightning. He calls to Kitty, then finds his cane lying next to him. He rises to his feet, still calling Kitty. Barnabas is shocked to see Ben standing there.  I'm back! declares Barnabas.  You haven't been anyplace, points out Ben.  Yes, I have, says Barn wonderingly, in another time--how is this possible?  Kitty! Where is Kitty? Ben knows no one by that name.  I must find her, insists Barnabas.  Maybe you had a bad dream, suggests Ben, I've been waiting for you a long time. Waiting for what? demands Barnabas. You must know, says Ben--you didn't forget what you were going to do tonight?--if you forgot, I ain't gonna tell ya, says Ben. You must, says Barnabas.  I saw you luring her (Josette) away from Collinwood, admits Ben--she was growing weaker, and last night after you left her at the Old House, she collapsed, and I found her there, muttering your name. I remember giving her a ring last night, says Barnabas. I have two coffins ready, says Ben.  Barnabas remembers--this is the night I was going to take her away with me. "Kill her, you mean," corrects Ben. Barnabas mourns, that night--must I live through it again? Change your mind, urges Ben, she doesn't know what you are--a vampire. Barnabas looks at him. "I had to say the word," says Ben--does she know yet what's going to be?  It won't happen as it did before, promises Barnabas. Confused, Ben says it ain't happened yet.  Barn says it has, but not again--we must find Josette. She's in her room at Collinwood, says Ben, they're watching her, especially now, after last night. But I regained consciousness in the woods, says a puzzled Barn--Kitty can be anywhere. You're scarin' me, talkin' that way, says Ben. I must go to Collinwood, says Barn. Are you out of your mind? asks Ben--what if your father or mother see you?--they will think you've risen from the dead.  Yes, they think I'm dead, remembers Barnabas--what will I do?  You aren't in any condition to do anything tonight, insists Ben. I must be, says Barnabas, feeling his way along his memories--I came to find you in the fishing shack. No, you never came, says Ben, that's why I'm here. I gave you orders to bring the carriage containing the coffins to the boat, recalls Barn, but Angelique came and locked you in the shack, determined to ruin my plans. You aren't making sense, says Ben. Go to Collinwood and make sure Josette is in her room, commands Barnabas--what time is it? Nearly 10, says Ben. If Kitty has become Josette, says Barn, she should be in her room, come back and report to me, then go to the shack, get Angelique, and bring her to Josette's room at the Old House. I can't do it, says Ben.  You must, says Barn--you've served me so well in the past, and must continue. Ben agrees--I have no choice--and leaves. "Kitty," moans Barnabas, "Kitty, where are you?"

Josette sleeps.  Her Aunt Natalie stands vigil close by. She lifts the clock--two more hours until this cursed day is over, this day the prophecy said Josette would die--I won't let it happen. If I could only understand what's been happening to her. Josette stirs and awakens, a smile hovering on her lips. Natalie sits on her bed and asks, "What's wrong?"  Josette says, I dreamed I was in another time. Natalie asks, what do you mean. It's not important, answers Josette, but I was dressed as no one else was, I was holding a dress, my dress.  Don't think of that, says Natalie. I was looking at my portrait, explains Josette--the portrait, it's as if it were alive, and makes no sense at all, but I felt as if I were the girl in the portrait--then I woke up here. Natalie's lip has been quivering as she listens.  Hearing footsteps, she goes to listen at the door, asking who it is. It's Ben--I came to see how Josette was. She's well and will stay that way, says Natalie defiantly, do not bother us, I want no one bothering us--I trust no one and won't until this night is over.  Ben looks at Josette.

Barnabas enters Josette's bedroom at the Old House and gazes up at her portrait. Angelique enters and says, "What an honor to be summoned by the great Barnabas Collins." (What is she doing alive, she was killed at Barnabas' own hand right after he awakened in his coffin? It was her ghost that wreaked the havoc, so this change of history makes no sense). What could we possibly have to say to one another? she asks.. I know what will happen tonight, says Barnabas--you will try to stop Josette and me--don't deny it. She smiles.  What else will I do?--I didn't know when I made you as you are, I gave you other powers as well. You will lure Josette to the cliff, try to stop us, says Barn. Why shouldn't I? she asks bitchily--you ruined everything for mer (he ruined everything for HER? I'd say that blame belongs on her many more times over.) I have changed, says Barn, I won't do what you think--make Josette as I am--I ask that you do nothing-- promise me, and I won't use the coffins--I swear to that.  Not tonight, but some other night, accuses Angelique. No, destroy the coffins, he urges-go ahead. You would have me do that? she asks--what are you planning now?  I only want to save Josette's life, he says. You really love her, don't you, asks Angelique, resigned. Too much to have her join me that way, he replies. I believe you, she says--how often I've wanted to hear you say that one word, love, and mean me. If you have any feeling left for me, other than hate, do this for me, begs Barnabas. And if I agree? She asks.I will be grateful, he says. That would be a change, she says ruefully, perhaps one I would like. Leave Josette alone tonight, asks Barnabas--stay with me here until midnight, and you will see I'm going to do nothing. No, she says, you will see that *I* am going to do nothing--I don't like your bargains. Angelique, PLEASE! he begs. Could we stop what will happen tonight? she asks. Yes, you can, says Barn, I know what you're going to do, you will lure her to Widows' Hill, I know it, and torment her with fears of what will happen to her if she goes with me--but this time it's not true--but nothing will change, it will make no difference, and Josette will throw herself from Widows' Hill. Angelique, beginning to fade away, tells him not to expect her to stop it--see if YOU can. Smiling, she disappears. Barnabas darts forward--"Angelique!" I must go to Widows' Hill, realizes Barnabas, stop Josette. He leaves the room.

Natalie looks out the window in Josette's room. How do you feel? she asks Josette.  Very relaxed, says Josette--the house seems much more quiet than usual this evening. It's not over yet, says Natalie, and I won't stop worrying until this night is over. It should be obvious that I'm perfectly safe, says Josette. Don't misunderstand, ma cherie, says Natalie, I'm very pleased that the prophecy hasn't been fulfilled--yet--there has been no disturbance in the house, there is a full moon, and I've seen no sign that you are despondent. With a laugh, Josette teases her aunt about still believing what she read in the book, a book supposedly written 200 years from now. It's told things as they happened, says Natalie worriedly, but one more hour and it will be midnight and you will be free from harm. I'm in no danger, insists Josette.  There's no way to know for certain, counters Natalie. I am certain, says Josette--it's difficult to explain, but I feel terribly secure, as if no power on earth can harm me. I don't understand your mood, says Natalie.  Nor do I, agrees Josette--it isn't necessary to understand it, just to accept it. Josette notices her ring is missing and becomes suddenly upset.  The ring! exclaims Natalie--the book said the prophecy would start when you noticed you were missing a ring. I must have lost it at the Old House, frets Josette, and starts to get up.  You must stay here, insists Natalie. Josette goes into her closet to get a cape, but Natalie takes it from her. I must find my ring, cries Josette, and you can't stop me. I must keep you here for your own protection, says Natalie. I want my ring, clamors Josette. Wait until after midnight, orders Natalie.  I must have my ring, says Josette--he expects me to have it--Barnabas. What are you talking about? asks Natalie. Josette refuses to tell her, taking her cape, she marches defiantly toward the door. They struggle as Natalie tries to stop her; a vase falls off a table and breaks.  The sound of glass shattering! says Natalie, horrified--it was in the prophecy and is coming true, little by little.What am I going to do? asks Josette. Stay here, says Natalie, if we can keep you alive until midnight...  Natalie gazes out the window and gasps--no moon!  There's the sound of a wind, and tinkling, as if from a wind chime. The house is filled with thumps and bumps; the door opens by itself. Josette screams.  Natalie tries to close it, but is unable. Josette offers to help.  No, says Natalie, I'm going for Riggs or another servant. When she leaves the room, the door slams shut, locking Josette in and Natalie out. Let me in, Josette! pleads Natalie--open the door!  The music box opens by itself as Natalie continues begging her niece to let her in.  Barnabas, calls Josette, you want me?  Open the door! Natalie begs, standing against it, sobbing.

Josette picks up the tinkling music box. Natalie continues to call to her from the other side of the door. "Barnabas!" says Josette.  Are you ready to leave? Barnabas' voice asks.  Yes, my darling, she says--where are you, why can't I see you? Who are you talking to? asks Natalie. "I'm waiting for you," says Barnabas' voice. I feel terribly guilty, she confesses--I lost the ring. I found the ring at the Old House, he assures her.  Josette smiles. Let me in! cries Natalie. I'm waiting for you, says Barnabas' voice--come to me, Josette!--come to me! Yes, she says, but where are you?-- tell me and I'll come to you. "I'll wait for you on Widows' Hill, says the voice--leave through the secret panel, Josette." She does as he tells her, his voice repeating, "Come to Widows' Hill." Natalie pounds on the door, finally deciding, I must get help.

Widows' Hill - It's storming violently.  Waves greedily lap at the shore. I've come to you, calls Josette, where are you? Angelique's voice fills the air with cruel laughter. The wind blows Josette's cape. Who's here? asks Josette. Don't worry, your precious Barnabas will be here soon, promises Angelique mockingly. Recognizing the voice, Josette asks, "Where are you?"  You won't be able to see me, says Angelique--I have come to warn you, you must not go away with Barnabas--he is evil!  Barnabas loves me protests Josette. He's going to kill you, warns Angelique, and after you're dead, he will bring you back to life, turn you into a bloodthirsty animal!  No! cries Josette, stop it!  Look out over the cliff, says Angelique, see yourself how you will be after you become his. I won't look! wails Josette.  You can't resists, says Ang--go on, Josette, look into the future--see how you will change! Josette views the horrible vision of herself as a vampire, mouth open, sharp fangs exposed, hair a mess, face cruel.  Take it away, begs Josette, please, I can't look at it, take it away.Keep looking, urges Ang, that's what he will do to you!  Take it away! begs Josette. There's the sound of approaching footsteps.  That's your love, Barnabas, Angelique tells Josette--your kind, gentle Barnabas, who will turn you into THAT creature, he's coming, Josette, coming to you--OPEN YOUR ARMS TO HIM! Josette backs closer to the cliff, nearly losing her footing. No, she cries, shaking her head wildly.

NOTES:  Here we have repeated, with some variations, one of DS' most frightening scenes.  This is the tale Barnabas tells Vicki and Carolyn in the darkened drawing room of Collinwood during a blackout, scaring them with the romantic, terrifying story.  What Angelique is doing alive at this point in the storyline is baffling.  It was her ghost that perpetrated everything that happened after her death, including the scene we just witnessed.  Will poor Josette die again?  Or will Barnabas succeed in changing history, and have the woman he always professed to love so much?

Great seeing old Ben again.  He sure was confused by THIS Barnabas' orders, wasn't he?

Can't wait to see what happens next!  These eps are so exciting!

Love, Robin

880 - Behind the wall, Trask cries desperately for help, banging fruitlessly on the brick wall, which won't budge. There's got to be a way, he tells himself. He checks the windows, but they've been bolted shut, too. He presses his ear to the brick wall and asks, who's out there? demanding an answer: "Judith, is it you? Have you repented this sin, Judith?  Answer me, whoever you are!"  No one answers him.

Trask listens, silent for a moment, and concludes no one is here, it's my imagination. Someone is bound to come--Quentin!--he must.

Quentin returns to Collinwood and hangs up his coat. He's about to head upstairs when Judith stops him and explains, I closed the west wing and had all your things moved to another bedroom--it was really getting expensive with only you in it. Quentin chuckles--I'm OK with it. What happened to Amanda's portrait? he asks.  I had it removed, says Judith--I found it no longer pleased me, as it's not the kind of picture you can live with very long--you will never see it again, swears Judith--I destroyed it. I think something is happening around here, opines Q--what? I might as well tell you, says Judith--two men tried to kill me tonight, perhaps the same ones who killed Evan. I heard about that in town, says Q.  Judith observes, you aren't mourning for Evan--would you mourn for me?--no, I don't think so, you and Edward would have shown little sorrow. Well, your husband would have made up for us, says Q, at the surface, anyway. Gregory is gone, too, she says--he rushed out after the two men and never returned--it's been over two hours and the police can't find him--I fear those two men did something terrible to him. If so, says Q, you are to be congratulated. "I might have known that would be your attitude," chides Judith. I'll go search for Trask, offers Quentin, if you're sure you want it--wouldn't your life be far less complicated if you just forget about your husband? "I will NEVER forget him," says Judith defiantly. Then, says Q, I will do you the favor of searching for him. He starts going upstairs, remarking, I'm sure the servants missed something in my room. Judith pursues him--you can't go up there, she insists--I had the lock changed. To the door of the west wing? he asks, incredulous--"Give me the key."  I don't want anyone ever going to the west wing again, says Judith--I'm mistress of the house and you will obey my orders. He smiles crookedly, wondering what she's up to.

Trask, looking rather disheveled, wonders, what in the room might get me out?  He walks around--ah, Quentin had a telephone! He searches for the cord and finds it in the roll-top desk. He takes out the phone and tries reaching the operator, but hears nothing but static.  He calls "OPERATOR!" fruitlessly over and over. She planned it this way, he realizes, how dare she! I will get out of this room, I swear, and then I will kill her himself!

Cemetery - Aristede continues to flee Garth Blackwood, his relentless pursuer. Quentin, searching for Trask, exits the family mausoleum.  Aristede calls to him. Quentin holds up his lantern, and is surprised to see Aristede. I know you have no reason to help me, says Aristede, but it's your fault this all happened; it started when you sent me to kill Petofi. Quentin laughs at him. Please help me, pleads Aristede--Trask was going to help me but the carriage he promised wasn't awaiting me--nor was Trask--Blackwood will kill me, cries Aristede, he's a devil straight from hell! "Whoever he is, I wish him luck, Aristede," says Quentin cruelly. Blackwood has spotted the pair and peers at them through the gate. Hearing the chain, Aristede says, "My God, he's here!" and takes off. Quentin grabs him and tries to hold him there.   (we see a tombstone that says CAROLYN COLLINS STODDARD) The men grapple.  Aristede gets away and leaves Quentin to Blackwood, who slings his chain around Quentin's throat and begins to strangle him.

"What did the prisoner want?" demands Blackwood. Help, squeaks out Quentin. He was your friend, accuses Blackwood.  Quentin assures him this isn't so--you saw me trying to stop him, didn't you, trying to hold him here? Appeased, Garth releases him--you did well, he says--he who aids and abets the prisoner must die. Blackwood, hitting everything in his path with the chain, leaves.

Trask hears hammering going on outside the window.  He tells that person, if you go for the police, I will give you anything you want--thousands of dollars. The hammering stops.  Come back! Trask screams, banging on the windows. The phone rings.  Trask rushes to answer. It's Judith, who doesn't answer him as he yells, "I'm Gregory Trask!"  She hangs up on him without saying a word. When she calls back seconds later, he begs for help, explaining, I'm trapped in this room at Collinwood--whoever you are go for the police.  This time, Judith speaks to him--I didn't know you were such an optimist. Judith, he says, surprised. Who else? she asks, I'm the only one who knows how to reach you. For God's sake, he begs.Are you enjoying your retreat? asks Judith.  You must let me out! he insists, desperate.  How familiar that sounds, she says, I used to say it every day at the sanitarium, but they wouldn't listen to me--you arranged that--so now I don't have to listen to you! You must, he wails, this isn't like you! Perhaps you never took the trouble to get to know me, she suggests. You're a Christian woman, he says. I'm only doing my duty, says Judith, given that you're so fond of meditating, and now you can do it under ideal circumstances. Someone will come! he shouts--someone will let me out!  I don't see how that is possible, says Judith--I've closed the west wing--forever!  What? he demands. You were saying only the other evening, she reminds him, how you wanted to spend the rest of your life in this house--now that's possible--"I've arranged it."   "Judith," says Trask, "if ever you felt any love for me..." You will not get out of that room, she promises--"You see, I knew about the death you intended for me...goodnight, Gregory." He cries out her name, but she's already hung up.  Trask hangs up, too, and says, I cannot believe it, I cannot. He looks around the room, noting how dark it is. He takes a two-candle candelabra and lights it with his one candle. How many candles?--I must think of that--I will get no more. What will I do. He hears the door squeak.  The ghost of Beth appears.  "No, you're dead!" he gasps, terrified. "Quentin!" calls Beth. "Where is Quentin? Quentin, I must find you!" Yes, calls Trask--find Quentin, tell him I'm here, tell him...to come to this room, you can make him come, please! Beth fades away. Trask presses against the solid brick wall, freaking out with fear.

Quentin returns home, nursing his throat. He hears his music playing in the drawing room and goes in. Beth stands looking out the window. She steps down into his sight. He turns away from her and says, "I knew you'd come back!" When he turns back to face her, she is sobbing. "I didn' t mean for you to die, I didn't mean it!" he tells her. "I tried to tell you that I wasn't Petofi! Beth, can you ever rest?" "Not until..." says Beth."What?" he asks. "I'll do anything...anything." "Until you know," says Beth, "that I forgive you." And she disappears. "Come back!" screams Quentin--"Don't you understand, I don't forgive myself--for what I did to you--for the part I played--please hear me!"  He covers his face with his hands and sinks into a chair.

Aristede returns to the mill, wondering, will I be safe here until I think of what to do? He hears a sound.  A woman comes tearing out of the back room, threatening, "I'll kill you, I'll kill you!" She has a knife ready to plunge into Aristede, and he grapples with her.

Aristede wrests the knife from the girl's hand and takes it into his own. I have a new enemy, he realizes, and tries to force her to turn around and face him. No, she says. He presses the knife against her throat; she spits in his face. That wasn't very smart, he says.  She proudly faces him--my name is Romano, she says. His widow, says Aristede. "King Johnny's wife!" she insists--"I will never be anything else!--I've come to carry out his curse!"  Against me? asks Aristede.  "And I'll do it!" she vows--"You will pay!"  "I will, or Count Petofi?" he asks. Both, she assures him. I was just his servant, protests Aristede--Petofi is your enemy. "You tell me that," she scoffs. If I give you Petofi, will you take the curse off me? he asks. Never, she says. If I travel with you, become one of you, prove myself to you? adds Aristede.  Why would you do this? she asks. Escape, says Aristede, I swear I can give you Petofi tonight, but you must promise to protect me from my enemies. Any member of my tribe would do that, she says, if we got the hand back. He's ill, very ill, says Aristede--he's wounded--I myself did it--it's one of the reasons I must get out of here. IF he's so very sick, she asks, where is he?--tell me!  As soon as you tell me you'll take me with you, insists Aristede. If you came with us, she says, you would have to change--you'd have to become one of us, forget everything Petofi taught you, learn to trust, because that's what we live by.I know that, says Aristede--all right, I agree--I'll prove I can be one of you--he's at the studio of an artist named Charles Tate--I'll draw you a map, show you how to get there--no, I'll take you there myself. No, she says, you talk too easily, words can cover up traps. Go yourself, he says, but it's no trap, I swear. He shows her how to get to Tate's house. Wait here, she orders, I will return. She leaves. Aristede is a nervous wreck.

Quentin sits brooding in the drawing room. Judith comes in--I thought I heard someone--go to bed. Yes, I know, he says, the green bedroom--aren't you going to ask me how my search for your husband came out? I assumed you found nothing, says Judith. You assume correctly, says Q--if a little too easily.  She looks at him--what does that mean? I don't know, for once, he says but I will find out--the question of your missing husband DOES interest me...  I don't know why he should, says Judith--when you were here, you constantly wanted him out of the house. I like all my stories to have endings, insists Quentin--the honorable Rev. Trask story--it is ended, isn't it?  No, not yet, says Judith.  Both of them wear the same half smiles. "Judith," asks Q, "did we ever confide in each other, perhaps when we were children?"  Judith admits, I was never given to confiding. Then it's probably too late for you to start now, says Q. Yes, agrees Judith.Wherever he is, says Quentin, I know you're happier for it. She looks at him, silent.

Trask ponders an eternity in this place--it's insupportable! There must be a way! Will no one ever come? He sits down. Will this room be my grave?

In the woods, Mrs. Johnny Romano has the misfortune to run into Garth Blackwood. What do you want? she asks.  You were helping the prisoner, he accuses.  You're crazy, she says--I don't know any prisoners. How do you plead to the charge? asks Garth--I pronounce you guilty, since you gave him refuge. Get out of my way, she orders. By the power invested in me, I give you the same punishment the prisoner must endure!  He loops the chain around her throat and strangles her as she struggles and screams.

Aristede searches through a drawer and finds some money. He is counting it when someone enters the mill--Blackwood, who orders, "Surrender, prisoner!"  He chases Aristede around the small room, ordering, surrender, face justice, there is no other way. It's a short battle, as Garth Blackwood metes out capital punishment to Aristede.

NOTES: We've had a lot of deaths in the past few episodes. Poor Mrs. Romano, she seemed like such a fun, murderous character, too, but a bullseye nevertheless!

Love the way Trask is slowly going crazy as a result of Judith's little plot. Quentin seems to know she's done something, but he is just letting her get away with it, because he apparently applauds it. Good for them both. This is one brother sister team that will never win awards for sibling closeness, but they certainly agree on the matter of Trask.

Beth's asking Quentin to forgive her always brings tears to my eyes. So sad. She was the victim yet she's asking for his forgiveness? Even her ghost is a doormat, poor thing. Still, it was a very poignant, sad scene. I was also glad she threw a nibble of hope and fear into Trask.

Judith is so good here. I love her deviousness and cruelty. It couldn't be happening to a more deserving fellow than Trask, and she's having so much fun with it, calling him and taunting him. An eye for an eye, and Judith is getting hers!

Will Aristede die, too? I wasn't sure about Evan, but he's dead, so...

Missing Barnabas, of course, but that's always the way with me.

1897 is rapidly winding down.


881 - In a re-working of yesterday's ending, Aristede drops the money he's counting when Garth lurches downstairs and orders him to face death. He loops the chain around Aristede's throat, shouting, "Justice must be done!"

Aristede struggles against the chain encircling his throat, begging Garth, let me speak!  Blackwood insists--there's nothing you can say to save your life.  Aristede offers to save Blackwood's existence--"You were brought here to kill me, but once you've done that, those who brought you will have no use for you--they will destroy you."I will do the destroying, asserts Blacwood, after I deals with YOU, for insubordination, conspiracy, jailbreak and the murder of Garth Blackwood. Tate, arriving at the mill, overhears Aristede's final scream, and Garth proclaiming, The prisoner is executed!" Wisely, Tate thinks twice about going in. Blackwood comes upstairs and Charles, standing in the doorway, opts to flee.  Blackwood leaves the mill. Tate waits until he's gone, then enters the mill himself. Aristede lies on the floor. Tate kneels to look him over--he's dead, exactly as Petofi said he would be.

Back at the studio, Petofi pours himself a drink. To Aristede, he toasts--Charles, we spent many pleasant hours together, but in the final test, he proved disloyal. He didn't look so pleasant lying on the floor in the mill, says Charles coldly. Death seldom shows us at our best, says Petofi--you shouldn't upset yourself over Aristede. Aristede wasn't Garth's only victim, says Charles--on his way back here, he stumbled on the body of a woman. Whatever she did to anger the Master of Dartmoor, says Petofi, she won't do it again. You look so self-satisfied, says Charles, but then you don't know who the woman was. Why should I care? asks P. The woman was a gypsy! cries Tate, right in Petofi's face.  This catches the old man's attention--where did you see her? Close to here, says Tate. She must have known I was here, says Petofi, thanks to Aristede--his last act of betrayal--I must hurry, I have no time to lose. He stands but nearly passes out.  Tate warns him against going anywhere. My psychic powers are as weak as this body, says Petofi, I won't he able to go anywhere, but I must escape them--I must and will, I, Petofi, can do anything, and I must go to the future now--I'm going as Quentin, that is how I'll go, he vows. He has his own body back, Tate reminds him.  I have mine back, too, says Petofi--and the power of the hand as well--when one loses an engagement, one doesn't surrender, one fights harder to win the next--I must act now, there are many reasons for me to go to the future, but not one to stay here. Garth Blackwood, Tate reminds him. He's done what I wished him to do, says Petofi, he doesn't matter anymore. Yes, he does, says Tate, you brought him from the depths of hell and must see that he goes back there. Why should I take the time to do that? asks Petofi. Besides the woman and Aristede, Blackwood strangled Evan Hanley, Tate reminds him. I don't care about Hanley, says Petofi--he sought death in the dark corners of the mind--and now he found it. (Such a cold man, reminds me of Goldfinger!) Tomorrow, he'll strangle others, warns Tate--the man is a maniac. And no concern of mine, says Petofi--tomorrow I will be 72 years in the future, in 1969!  What about me? asks Tate. What about you? asks Petofi.  After you have gone, he might come after me, retorts Charles--what should I do? Lock your doors and windows, advises Petofi, I haven't time for these arguments, and in the final accounting, you are of no importance, neither is Quentin Collins, nor is anyone whose path may cross that of Blackwood--only I am important, and I'm going to the future--the rest of you may fend for yourselves! The door opens--it's a glaring Blackwood. You are both my prisoners, he announces, and the penalty is DEATH!

Blackwood wraps his chain around Charles' throat.  Petofi uses his magic hand to force him to release Tate. Charles backed away, grateful the hand worked. There is something in this demon that resists me, says Petofi--I don't know how long the hand will work. Remembering that Tate shot his other creation, Petofi, still holding the creature at bay, orders, get your gun--quickly, I doesn't know how much longer I can do this!  No longer, announces Garth, advancing on Petofi--you can obstruct justice no longer! Charles presses the trigger several times, and finally succeeds in pumping two bullets into Blackwood, who falls to the floor. Charles whispers, "He didn't disintegrate!" Get some rope and tie him up, orders Petofi--and hurry! Tate does as ordered, and as he binds Blackwood, the Dartmoor master keeps giving him the evil eye. Don't be afraid of him, he can't hurt you now, says Petofi.  "You have shot the Master of Dartmoor!" cries Garth. "You have committed the ultimate crime, the penalty for that is certain death!" He isn't dead, says Charles, just unconscious. I am going to begin my trance, says Petofi--you can wait and watch Blackwood die--soon you'll be rid of him, as you wanted, says Petofi. I don't want to stay, protests Tate, but relents and says I'll do it. Petofi goes into another room while Tate sits on the sofa, staring at the trussed-up body of Garth Blackwood. As Charles walks around the body, Blackwood suddenly returns to consciousness, shouting and adjusting his hat. Charles calls to Petofi, who comes out. Garth takes his chain and weakly slams it down against a chair and says, I can't kill you now, much as I'd like to, but this is only a stay of execution, you are sentenced to die, and I will carry it out, later.He lurches off into the night. I wonder how he broke loose from the rope? Says Tate. With his last burst of strength, guesses Petofi--dying now, no doubt about it.

Drawing room - Quentin, exhausted, glances through a family album. I have so much to do before I leave Collinwood, he thinks--I must keep going, no matter how tired I am. Charity enters.  Her tone nasty, she says, I'm sorry, I didn't know the room was occupied. She turns back and realizes its really IS Quentin. I'm so happy you're all right, she bubbles--you beat Petofi at his own vile game. I won't really be free of him until I leave Collinwood, he says. She's upset to hear he's leaving, but agrees he must--Petofi isn't done with you, and won't be until you go where you can't be found.  I'm taking the early train tomorrow, he says, and will be in New York shortly thereafter. I suppose you won't be coming back here anymore, she murmurs, her feelings for him clearly evident. Not for a long, long time, he says. By then, laments Charity, I won't be as pretty as I am now--everyone changes, grows older--I wish you didn't have to go. I have to, he says.  I know, says Charity--you can't always get your wish in this life--I wish we could fall in love like some ordinary Mary and Jim and get married and settle down, with little nippers of our own. (awww!)  To tell the honest truth, adds Charity, I still wish that--I'd have given up my career for you. He smiles gently at her and says, I'd never ask you to do that. Of course you wouldn't, she says, so you'll just have to go without me. She looks at the trunk--what's that all about? she asks. My history, he says--letters, pictures, papers I was going through to see if there was anything worth taking. She notes how tired he looks.  I haven't hasn't slept for a couple of nights, he admits. Go to bed now, she advises--worry about this in the morning. No, I must keep going, he insists. He shows her a photo of himself, age 10--before I knew what life was all about. You were a love, she says--can I keep it?--I'll give you a picture of me to take along, if you'd like it, it's really quite nice. I'd like that, he says. Some people might think it a bit racy, she says, but you just tell 'em that's Pansy Faye, she was part of my history, too, and don't you forget that, Luv.He smiles at her. (This is such a sweet scene, it really gets to me. She is so in love with him, and he knows it, but he's just being gentle and kind, brotherly, and it's a nice side of Quentin.)

I'm beginning my concentration, Charles, says Petofi, and when I'm in a deep trance, you can leave me--I don't know how long the trance will last, it depends on Quentin playing his part, too--as long as he remains in control of his own mind, I can't recapture his body, but the moment he sleeps, and his mind relaxes its vigil, his body is mine again--Quentin's part is very simple, and inevitable.

Back at Collinwood, Quentin is drowsy, very close to dropping off to sleep.

Sitting at a table in main room of the studio, Petofi concentrates.

The picture is apparently all I'm getting from you, teases Charity, so I might as well go to bed.  I feel strange, says Quentin.  What's the matter? She asks.  Staying up two nights, a person begins to feel it, he says. Are you sure that's all it is? she asks--maybe you should go to bed now and finish this up in the morning. I have to get my life in order now, he says. Take a little nap, have some brandy, she suggests. I will, he says--go upstairs and let me finish. He stands and asks, do you mind my coming up to say goodbye before I leave?  I wouldn't mind at all, she assures him--good night. "Good night, Pansy," he replies. He pours a drink and puts on his jacket, then sits down, drinking, by the fireplace.

Petofi concentrates, working on successfully performing the body exchange trick again.  In her room, Charity, lying in bed, thinks to herself, he's really going--nothing will stop him now, no one. It abruptly hits her--someone IS going to stop him, if he can have his way, someone--who is it?--I've got to see what's happening to him!She sees a vision of Q's hand holding a glass, which drops from his hand to the floor as he falls asleep. Quentin's music plays. Tate enters and Quentin wakes up and says, "Charles, it's done, exactly as I said it would be! The minute Quentin Collins fell asleep--did you bring the wands?" Charles hands him the wands, and PIQB says, the minute I throw them, I'll be starting toward the future--the brief taste of it I had only whetted my appetite--and now I am voracious for the future! You can't do it here, at Collinwood, objects Tate.  I can, says PIQB, and when they awaken, body will be gone for all time! It might be dangerous, warns Tate.  I am determined to it right here, insists Petofi--no more time to lose. The vision disappears.  Charity realizes there really IS no time to lose--the minute Quentin falls asleep, Petofi will have him--forever!  Horrified, Charity slides out of bed and goes down to the drawing room, where Quentin is drinking his brandy. Mustn't sleep, he tells himself drowsily--too much to do before I leave, but maybe...just for a minute...  The glass begins to fall, as in Charity/Pansy's vision.

NOTES:  Oh, no, will Petofi take over Quentin's body again, and this time succeed in kidnapping it to the future?  Or will Charity get down there in time to prevent it from happening, now that she's seen a complete vision of what is to take place?

I so loved the scene between Charity/Pansy and Quentin.  They do make a nice looking couple, but he's never even thought of her romantically.  And perhaps she only feels the way she does because of her feelings for Carl.

Isn't this thrilling?

Love, Robin

876 - Quentin tries to grab Beth away from the edge of the cliff, but, the terrified woman, still thinking he's Petofi, screams, "Get away from me!" She draws back and ends up tumbling over the edge.Quentin covers his face, cries out her name, and blindly stumbles away from the scene of the tragedy.

Collinwood - Barnabas closes the window and wonders why didn't I hear anything?--if anything went wrong--if the switch were successful, he'd have been back here by now--I should have stayed closer to the mill...Quentin enters, dragging his feet, and joins his cousin in the drawing room.  "Good evening...Quentin," greets Barnabas hesitantly. "You have no idea which one I am, have you?" asks Quentin.  Barn says "I don't know what you mean." It's all right, says Q softly,  Petofi and I are back in our rightful bodies--it worked, just as you said it would, it's no trick, I'm telling the truth. Quentin pours himself a drink.  You aren't very ecstatic about it, Barnabas observes.  Beth is dead, says Quentin. This stuns Barnabas--"Oh, no!--How?"   When the exchange of minds was complete, I was in the woods, explains Q, and heard something moving behind me--I found Beth on Widows' Hill--she thought I was Petofi--I tried to tell her I wasn't, but she feared me, and kept moving away from me, lost her footing and went over the edge. "I'm sorry, Quentin," says Barnabas (and sincerely, because he's been there himself). "Does every life I touch end in tragedy?" demands Quentin bitterly. You aren't responsible for Beth's death, says Barn--Petofi is. Quentin drinks, agreeing, and says, "Poor Beth."  You shouldn't think about it anymore; urges Barnabas there's no way to change what's happened (callous, Barn!), you must think of your own safety. I have what I always wanted, says Q--my own identity.  How long will you keep it if you stay here? asks Barn--Petofi is certain to make another move soon, and you will be as defenseless as you were before--unless you leave Collinwood now. Where am I going? asks Q.  I don't know, says Barnabas, but you must get as far away from Petofi as possible. They haven't found my portrait, says Quentin, and I can't leave without it. "You have no time to look for your portrait!" insists Barnabas. That portrait is my only security, says Q, if something happens to it, the werewolf curse will be back on me, and I won't go anywhere dreading any full moons! We'll make one last attempt to find the portrait, agrees Barn, but tomorrow you must leave--I remember the night it was taken--Tate was in the house, perhaps he took it.If he's got it, he won't admit it, says Q. Nevertheless, Barn says, it's worth a visit to his studio.

Quentin's portrait sits on an easel in Tate's studio. He wonders how and why it changed, as if it had a life of its own. Why? What powers did Petofi give it? Makes no difference now, as long as I have it, the body of Quentin Collins is in my power, and I bargain with Petofi! Hearing a knock, he hides the painting, then answers. It's Aristede, covered with filth, asking for food and rest--just for a little while! He sinks down into a chair. You don't have much of a memory, Tate reminds him.  Tiredly, Aristede begs, don't be cruel; you wouldn't want to be living as I have for the past week. I haven't been living a life of luxury this past week, either, to Petofi, says Tate. At least you haven't had to live in constant fear, Aristede, of the vampire. What vampire? asks Charles. I know he's dead, says Aristede, I saw him with a stake through his heart, but he came to life somehow--I saw him, and he was going to kill me! Tate is confused. I remembered the vow Barnabas made that he'd kill me, babbles Aristede, and I ran away, out in the woods for a week without food, afraid to sleep at night, knowing he was after me. Tate, amused, says, you're like a little child afraid of the dark, and he laughs--you're such an idiot, Aristede--if you really were roaming the woods, you did so for nothing--because the Barnabas you saw is not a vampire! Aristede is stunned.  Tate laughs at him some more.

You're lying! Aristede accuses.  I've seen Barnabas during the day, says Tate. This news further shocks Aristede.  You can go see for yourelf, says Tate--Barnabas is living at Collinwood. I don't understand, says Aristede.  Neither do I, says Charles--I only know what I've been told--according to witnesses, Barnabas that's staying at Collinwood isn't the same man as the one staked in the coffin. Incredible, says Aristede, how could two men look so much alike? You needn't be fearful anymore, says Tate--you can go back to Petofi, or Quentin. Have you seen His Excellency? asks Aristede--he must be angry about the way I ran away, isn't he? You're wasting your time, says Tate--you can go grovel at the feet of your master--maybe he'll take you back--then again, maybe he won't!  Afraid, Aristede asks--you go see Petofi and tell him I'm back, explain why I ran away--once you explain why, I'm sure he'll understand. Then why not explain yourself? asks Tate. I can't face him, protests Aristede--please do me this favor, you won't regret it. I have my own problems, says Tate--I'll see to it you're fed and get some nice clothes--and you do need all that--but as far as getting you together with Petofi and making things up, I draw the line.  Tate opens his door--good night, Aristede.

Quentin goes to Widows' Hill. The ocean beats against the shore noisily, the wind blows. He stands looking down, hearing again his last terrible conversation with Beth, when she accused him of being Petofi, telling him. I hate uoi!", ordering him, don't touch me!--hearing her final scream as she went over. Quentin cries out miserably and covers his face, then says, "I don't know what to say--forgive me, Beth, wherever you are."  (who thinks this is too little, too late?)

Tate paints over Quentin's portrait with white paint. Hearing another knock, he hastily finishes covering the portrait. It's Barnabas. This is an unusual surprise, says Tate.  I want to buy a painting, offers Barnabas.  It's a strange hour to be doing that, opines Charles. It's a strange painting I'm after, says Barn. Which one? asks Charles.The portrait of Quentin, answers Barnabas. That's at Collinwood, says Charles. No, it's not, says Barn--it was stolen from Quentin's room the other evening.  "Are you suggesting that I stole it?" asks Tate. Do you have it? asks Barn. No, says Tate, I don't (and he gets right into Barnabas' face as if having a staring contest)--what would I want with a portrait of Quentin? You haven't answered my question, says Barn. Tate drops his eyes first and says, I told you--I don't have it--now let me ask you a question--what is your interest in this painting? I have no interest, says Barn, I'm here on behalf of Quentin. I see, says Tate, Quentin thinks I stole it, doesn't he? You were at the house the other evening, when it was stolen, says Barnabas--Quentin thinks you have good reason for taking it. He may think that, but I don't, says Tate, no good reason at all--search my studio--if you do find the portrait, you're welcome to it.

Collinwood - Quentin returns home.  Aristede appears from the bushes and announces to "his Excellency", I'm back. Yes, I see, go on back from wherever you came from, says Q, I don't want anything to do with you. Aristede begs--please let me explain, I was sure the vampire was back. Get out! orders Q. Please don't send me away, pleads Aristede, pathetic--give me one more chance, I know what a fool I've been, I should have known you'd protect me, but I was terrified--please, I swear it will never happen again, I'll be loyal and obedient, me something to do, anything, please, don't send me away. Quentin thinks it over, realizing Aristede still thinks he's Petofi.  He suggests, there is something you might do for me--and he invites him inside.

Drawing room - Quentin says (calling him "my boy"), I'm not sure you're the man for this task, but I'm willing to take a chance.  Grateful, Aristede says it's all I ask--you won't regret it. I hope I don't, says Quentin, I'm very tired of your blunders, Aristede--let me give you fair warning--if you fail this time, it will be your last failure. I won't fail, promises Aristede. There have been some changes while you were away, says Quentin--my plans are somewhat altered--I've decided I no longer have any use for my old body. I though you wanted to fool the gypsies with your old body, says Aristede.  I still do, says Q--I intend for the gypsies to find a dead body--that way will be convinced they found the real Count Petofi, and matters will be closed. Aristede smiles and says, dead men tell no tales. Precisely, says Q--find the so-called Count Petofi and kill him tonight. It will be done, vows Aristede. And quickly, adds Q, and if it isn't, don't bother coming back here, Aristede--"I'll find you!"  Aristede bows and leaves. Quentin grins.  (what a GREAT idea!)

Petofi shows up at Tate's studio. Charles, drinking, says I'd appreciate you knocking before you come in. Is that any way to greet an important visitor? asks Petofi. You're neither invited nor welcome, says Charles. That will change, says Petofi, when you learn what has happened and going to happen--I've been considering your request that I restore your talent, since you cooperated with me by showing me the way to the future, I've decided you redeemed yourself completely, and shall be a great painter again. Tate, furious, says, I'm in no mood for your nonsense; I know who you are and that you don't have the power to restore my talent. Petofi says, there are times you are almost as imperceptive as Aristede--you're quite unable to distinguish between what is real and what is not--but two minds have reverted back to their original bodies--I am Petofi and Quentin is Quentin, an unfortunate but I assure you, temporary setback for me. You're trying to trick me, accuses Tate. You don't even understand when I'm trying to help you, chides Petofi--this will make you believe me--and he takes Tate's hand in his and says, you're beginning to feel different, like THE Charles Delaware Tate again, right--and so you are, my boy, so you are. Tate feels the power coming back to his hand and is thrilled--I have the gift again! Do you believe me now? asks Petofi. Yes, says Charles, exultant. This time, says Petofi, there will be no deviation from your loyalty, I demand your total allegiance and the rendering of your services upon request--is that understood? Yes, says Charles, smiling. We should drink on it, says Petofi--I prefer brandy. Tate hurries to the back room to get him the booze he requested. Petofi examines a painting. Aristede gazes through the window and, knife in hand, enters the unlocked studio. He creeps up behind Petofi, knife raised.Petofi sees him, but too late--Aristede has already stabbed him. Petofi falls heavily to the floor, dropping the painting he was examining.

NOTES: Bravo, Quentin, turning the mind/body switch against your enemy so smoothly, and despite your grief. There are those who argue that Beth was Quentin's true love, but he treated her shabbily, and she ended up dying even though he survived this time period. She killed herself for him in the original timeline, after killing him, so she was apparently doomed to die either way. She never would have been happy with him, unless he changed, and one suspects it took decades for that to happen.

Barnabas expected Quentin to get over his sorrow over Beth's death rather quickly (given how long his for Josette lingered!), but then again, he's worried for Quentin's safety and figures he should get the hell out of Dodge (Collinsport) and nurse his grief in a safer place than where Petofi is. Barnabas could have been more understanding, but he's panicking, and when Barn panics, everything else gets thrown out the window. The scene on Widows' Hill where Quentin asks for Beth's forgiveness was very touching, but I still feel it was too little, too late.

Poor Aristede, afraid of a vampire that didn't even exist all this time! And now he's been sent to kill his real master, and has succeeded in stabbing Petofi. What will happen to the latter, and his fearful lackey, once he learns what he did? And Charles, who went to get the brandy, knows the truth.


877 - Aristede does the intro.

Quentin drinks, and smiles, joyously considering the plot he set in motion by sending Aristede, who still thinks the personalities are reversed, to kill Petofi.

Aristede laughs as Petofi rolls on the floor, a knife sticking from his chest."Aristede, you will pay for this!" grunts Petofi. Charles comes in.  You idiot! he calls Aristede--don't you see what you've done?  Charles kneels down to check Petofi. I merely carried out orders, insists Aristede--His Excellency has no further use for that body. HE'S Petofi! Charles informs him, and you could have killed him!  Is he dead? Aristede. There's still a pulse, says Charles.  Obviously, you don't know what happened between Petofi and Quentin, says Aristede. No, says Tate, YOU are the one who doesn't know--their minds were switched back earlier this evening--"You stabbed the real Petofi." This isn't a very funny joke, says Aristede, going pale. No joke, says Tate--Petofi came here to restore my power. Impossible, gulps Aristede. If he dies, my talent dies with him, says Charles, upset.  Aristede, panicking, says, Quentin tricked me--I didn't know about the switch, I swear I didn't! You better hope he dies, says Tate, because if he doesn't, your life isn't worth anything. I didn't realize Quentin tricked me, says Aristede--I thought he was following orders, believe that--and if he lives, make HIM believe that--I'm going to find and kill Quentin for what he's done. He leaves the studio. Petofi comes to.  Aristede is gone, says Charles--don't worry about him, take it easy--I'm going for a doctor. Forget a doctor, says Petofi, where did Aristede go?--I must find out why he did it. Don't move, urges Tate--Aristedesaid  he was tricked by Quentin. Petofi gasps, I can't believe that! He's going to kill Quentin, reveals Tate. No, he must be stopped! yells Petofi, trying to get up. Don't move, says Charles. No harm must come to Quentin, says Petofi, I have my reasons--go, find Aristede and stop him!

Aristede stands at the drawing room window, looking in at Quentin, who's having a drink. Q puts back an empty decanter and takes a fuller one, then goes to answer the door. It's Aristede, who tells "His Excellency", you seem surprised to see me--you didn't think I'd fail, did you? I didn't expect to see him back so soon, says Q. Just a matter of finding the victim, boasts Aristede, the rest was easy--I found and stabbed Petofi--he'll be dead very soon. You should have stayed until he was dead, says Q, affecting a Petofi attitude. Believe me, he won't survive this, Aristede assures him--shall we have a drink to celebrate our victory?  Quentin pours the drinks, his back to Aristede.  The latter observes the swords hanging on the wall.  Quentin babbles about "a suitable reward" for you.  I already know what I want, says Aristede. He pulls out a sword from the display on the wall and points it at Quentin: "Your life, Quentin Collins!" shouts Aristede.  Just what do you think you're going to do? demands Q, backing away from the sword point. I know what happened this evening, says Aristede--I know you're Quentin again, and tried to trick me, but you're going to pay--Aristede--laughs--"Yes, you'll pay."Charles, gun in hand, enters the drawing room.  Put down the sword! he orders. Are you crazy, Tate? asks Aristede--get out of here and let me do what has to be done. The tip of the sword wavers near Quentin's throat. Put down the sword, orders Tate--if you don't, I'm going to blow your head off.

Aristede finally drops the sword to his side. Quentin is relieved.  Quentin can't be allowed to live after what he did, insists Aristede--you don't know what you're doing, Tate. Following orders, replies Charles. Is His Excellency going to live? asks Aristede. Go find out for yourself, suggests Tate. I can't, says Aristede, I'm afraid.  And with good reason, says Charles--"Go, get out!" Aristede drops the sword to the floor and flees. Quentin asks, "So, Petofi isn't dead?" You made a mistake sending Aristede to kill Petofi," says Tate. Q, returning the sword to the wall, says, I thought one of them would die, I didn't especially care which.  You're really lucky to be alive, says Tate. I know why Petofi sent you here to save me, says Quentin, and I don't consider myself so lucky at all.

Petofi, lying on the sofa in the studio with the infamous traveling afghan thrown over him, has a dream: We see the woods, hear dogs barking. Aristede, clothing torn, is crawling away from someone pursuing him. It's foggy; he's leaping from rock to rock, to finally fall, exhausted, to the ground. Petofi comes upon him.  Aristede takes out a knife, orders--don't come near--I'll kill you! Will you? asks Petofi--put away the ridiculous knife, I have no intention of harming you, or turning you in--I've been watching you a long time, says Petofi  (Aristede looks so young!) Watching me? asks Aristede. You're running about in circles, says Petofi.  I don't know this  area, admits Aristede, or what I'm doing or where I'm going. Under the circumstances, won't last much longer, will you? asks Petofi. Aristede puts the knife in his pants--I need food and a place to sleep, he says. Petofi offers him both, plus a decent suit of clothes, too. He introduces himself as Count Petofi--that's all you need to know about me for the moment. Aristede gives his name.  It has a ring of nobility about it, remarks Petofi--what was your crime?  I killed a man in Liverpool, over a disagreement, confesses Aristede. Do you usually kill people you disagree with? asks Petofi. Aristede, irritated, asks, how many questions are you going to ask me?  I have reasons for being interested in your background, says Petofi--how did you escape Dartmoor?  Did you ever know Garth Blackwood? asks Aristede. Yes, I well know the Master of Dartmoor, answers Petofi. Former master, amends Aristede--he's dead. How did you kill him? asks Petofi. How did you know I killed him? counters Aristede. By the way you said, "He's dead," says Petofi, smiling.  I wasn't the only one happy to see him dead, says Aristede, he was cruel and sadistic--he had a chain and enjoyed beating us with it--last month three prisoners died from Blackwood's beatings, and about a week ago, we all got together, drew lots, and I won the task of killing him--I heard him coming--he had a wooden leg that dragged when he walked, and always the sound of rattling chains, says Aristede, getting a little crazy at the recollection--I waited until he reached my cell--he intended to flog me with the chain--but when he raised his arm, I took out my knife,  hidden in my shirt, and stabbed him right through the heart!  And made good your escape, finishes Petofi--how fortunate for you. No, says Aristede, every night since I escaped, Blackwood's gotten closer to me. How, if he's dead? asks Petofi.  I don't know, but I hear the sound of that foot dragging and those chains rattling, getting louder, closer every night--I can't escape Blackwood. Hook up with me, suggests Petofi, for respectability, security, and a certain amount of adventure. Aristede hears the chains--he's coming! he cries, and turns to run. Petofi grabs him--don't run away! Aristede protests--he's getting closer!  The sounds you hear are in your own mind! Says Petofi--look into my eyes. Aristede does.  Blackwood is dead, except in your mind, you're being haunted by your own fear and conscience, explains Petofi. Aristede stares at him.  Petofi continues--dispel those sounds from your mind, cast them away, forever. He touches Aristede's face.  The sounds have stopped, says Aristede--Garth Blackwood is really dead. And he'll stay dead, promises Petofi, as long as you remain my faithful servant. Aristede drops to his knees like a man about to propose, takes Petofi's hand in his, and pledges his undying loyalty--I'm your most obedient servant!

Charles hands Petofi a drink just as he awakens muttering, "My most obedient servant." What about Aristede, Petofi asks--did you stop him? Yes, and told him to come here, says Tate--why do you want to be so lenient, why didn't you just let him kill him? Lenient, not at all, says Petofi,I shan't be that--Aristede's far too precious to die an ordinary death--he'll be haunted and tormented to his grave, and we will do that together--you will supply the talent and I the information--get your sketch pad and pencil--we are going to recreate the face of a man Aristede fears above all others--Garth Blackwood. I don't know who he is, says Charles.  Look into my eyes, bids Petofi, and you will see his face.  Tate opens his sketchpad and begins to draw. Who is this man? asks Charles.  Aristede's executioner, says Petofi. Does he really exist? asks Tate. He did once, says Petofi. He's dead? asks Charles. Yes, says Petofi, but we will bring him to life again.

Aristede looks through the window into the studio, then reluctantly enters the cottage. Yes, Charles, says Petofi, it's coming splendidly. Aristede, contrite, enters the studio. Do you want me to get rid of him? asks Tate. No, Charles, says Petofi, I think I know why Aristede has come--bring your work into the next room, and bring it back to me when it's finished. Charles does as ordered.  "So, Aristede, you've come back to face me." says Petofi, grinning. To beg forgiveness, says Aristede.  Close the door, dear boy, says Petofi, and come in. Aristede complies.  You must understand, pleads Aristede, it was a natural mistake, I had no way of knowing what happened. Aristede, poor, conscience-stricken Aristede, croons Petofi--you must not indulge in this orgy of recrimination, I do understand what happened. Aristede is grateful. One must admire Quentin's courage and ingenuity, says Petofi--of course you believed his story, why shouldn't you? Aristede, relieved, kneels beside Petofi and asks, are you going to be all right? Of course, Petofi assures him, quite all right--and I'm anxious to forgive you. Charles brings out the sketchpad with the finished drawing. Leave me alone with Aristede a few moments, says Petofi. Tate exits.  Charles has a wonderful talent, says Petofi--imagine sketching a person you never laid eyes upon in his life. You're forgiving me, right? asks Aristede. I think it wrong to dispatch a man with a heavy conscience, says Petofi. Dispatch? asks Aristede, not understanding (or not wanting to). Petofi turns the sketch around and shows it to Aristede--do you recognize it? Garth Blackwood, says Aristede, terrified--what are you going to do with that? There's something you don't know about Charles, says Petofi--even I discovered it only by accident--he has the curious ability to draw portraits that come to life.  Impossible, cries Aristede. I think it only fitting that you be reclaimed by the most relentless pursuer you've ever known, chortles Petofi--Garth Blackwood, and he shall take you with my blessings, my boy, he finishes coldly. You said you were willing to forgive me! protests Aristede--you can't do this, you don't mean it, it's not possible, a picture can't come to life, it's a trick to scare me, and I'm scared--I said it, please stop it! Aristede hears the sound of a dragging wooden leg and chains.  Stop him! he screams. "Goodbye, Aristede," grins Petofi. "I shall miss you!"

NOTES: So now we know how Aristede met Count Petofi--pretty interesting, huh? Does it surprise anyone that Aristede was in jail for murder?  Petofi really is one cold SOB, bringing back Aristede's torturing jailer to get rid of him.  I guess Petofi doesn't forgive any mistakes, at least not a big one like this.  Aristede is a coward, really, and Petofi knows it.  Will Blackwood kill Aristede?  Or will the former prisoner defeat him and beat Petofi?

Love, Robin