Ahem.

I will have you know that Ima Fly was a regular on DS.  She appeared in many episodes, sometimes bringing along sister and fellow actress Itsa when more than one fly was called for.  They were well-known and respected amongst their DARK SHADOWS co-workers and proud of their roles as background (and sometimes foreground) characters.

Both Itsa and Ima are no longer with us, but they left their many brethren and children acting in other soaps.

Love, Robin 

I want to wish you the very best of lucky in your surgery, Gerard.  I had back surgery myself nearly 30 years ago.  I bet they use anesthesia, sterile instruments and everything now!   

Praying for you, thinking about you--take that painkiller and zone out, buddy!

Love, Robin 

850 - Quentin tells Amanda we're leaving in an hour and 15 minutes--I haven't even packed, have you? I have, she says, and turns away.Don't do that, he urges, dropping gentle hands on her shoulders.  Don't touch me, she says. Of course I'm going to touch you, he promises. Well, she says, I have something to say to you that I can't with your arms around me--I've spent so much time wondering how you can feel about me the way you do, not knowing about myself, fearing Charles is right. It was coincidence that he painted the portrait two years ago, insists Quentin. You don't know what will happen, how different your life will be, Amanda reminds him--one day you might blame me for the change, and think Charles was right--maybe I'm not human.  Never, Q assures her. Easy for you to say, please think, for both our sakes, she begs. I have! He says.  Go to Collinwood, think carefully, examine everything, she pleads. I'll be at the train station, don't worry, he says. If you aren't, says Amanda, I'll get on the train and part of me will understand why you couldn't come--it will mean the end for us, but perhaps that would be easiest. I love you, he assures her--nothing will keep me from the train station--nothing! He makes her smile, then kisses her smiling mouth.

Trask comes downstairs as Quentin, whistling, enters the house. Trask immediately accuses him of "knowing something about this."  Quentin says, I take pride in knowing something about everything.  What did you do with Amanda? Trask demands--I knew you'd try something like this!--her clothes are gone, there's no sign of her! So I'm the villain, muses Quentin--have you considered she went to Tate? You are trying to confuse the issue, says Trask. Merely offering a suggestion, says Q. I'm no fool, says Trask--I can see through your arrogance and deviousness--where is Amanda?  When you find me, says Quentin, you'll tell me--I'm going to my room--am I allowed? Trask isn't satisfied with his answers. Too bad, says Q. When I have proof of your perfidy, warns Trask, I'll make your life miserable. "You make my life miserable just by existing," shoots back Quentin through gritted teeth. I see through you! shouts Trask, and don't forget it!--I know you're the source of evil in this house, and I will find Amanda Harris and rescue her from your evil--you will see, Quentin!  The latter walks upstairs, laughing at Trask.

In his studio, Tate gazes at Quentin's portrait, thrilled that he now controls Quentin--if I burn this portrait, Quentin would become the animal at the next full moon! This idea fills him with glee. Tate hides the painting on his easel, wondering what Q will do when he finds it missing.

Quentin has returned to his room and is packing his clothing. Nora comes in and asks,  why is Jamison mad at you?--I told him our uncle would take us to the fair in Collinsport tonight. Quentin looks uncomfortable.  Jamison said he wouldn't go even if you did take us, says Nora--are you going away? Yes, he says, but not for very long, I hope.  Kneeling, he says--promise not to tell anyone here I'm going to leave--there are certain people in this house I don't want to know I'm leaving. Nora promises not to tell a soul. Quentin thanks her. I'll miss you, she says sadly.  I'll miss you, too, he says, and asks for another favor--tell Jamison that I love him very much, and try to make him understand. It will be very hard, says Nora--he's really angry at you for marrying Angelique--he doesn't even want to hear your name--you don't fold your socks the right way, adds Nora--you aren't a neat packer. He ruefully admits to having a lot of faults. You can close my bag, he says, and goes over to uncover the painting--I'm taking it, he says, because it's something I must do. All he finds is an empty frame.  I don't know what happened to it, he says, dismayed.  Nora wonders who would take his painting. I must get it back, insists Quentin, anxious--I can't leave without it.  I don't understand grownups, says Nora. Quentin gets paper and a pen, and asks Nora to be quiet for a few moments. He quickly writes to Amanda, explaining something has happened--I might not be able to leave on the six o'clock train--wait for me--I love you. Take my letter to the rectory, he instructs Nora--you know where it is--give it to Amanda and no one else--she'll be there until quarter to six--you aren't to stop on the way--go straight there and don't show it to anyone else. I can handle it, she assures her uncle--will you be here?  No, he says, I must do something else--go on, hurry! He gazes at the empty frame and figures it's either Petofi or Tate.

5:25 - Nora creeps downstairs only to be stopped by Trask. He demands to know where she's going in the storm--and insists on the truth. I'm going to find Jamison, she says. I thought he was in his room, says Trask--I told him to wait there all evening.  He had to go out, says Nora--he left something in the garden and I must go get it for him. You told me Jamison was already out there, Trask says.  She raises her arms in a gesture of annoyance--you've got me so confused! She complains.  Are you lying? He asks--you act as if you are. I'm not, she insists, and leaves the house, Trask calling after her.

Quentin barges into Tate's studio--I want my picture!  I don't know what you want, says Tate. You stole the one you painted, accuses Quentin. I can't imagine why you'd think I stole that, says Tate--I don't even like it, personally. That portrait has strange powers, you've seen it change, says Q, and you stole it because you hate me. You shouldn't flatter yourself, advises Tate.I checked with Petofi; says Q, he doesn't have it, so you must. Do you trust Petofi? Asks Tate.  I do, answers Quentin. You're naive, says Tate.  No, says Q, you took it--and because of Amanda--if you have that portrait, you can control me--give it back! Tate denies knowing which portrait.  Quentin starts to look for himself. Stop, Tate orders.  Stop me, counters Quentin. They get into a fight, grappling, and it goes along pretty violently, the two men battling all over the room. Finally, Quentin cracks a bottle over Tate's head, leaving him unconscious on the floor.  Ignoring him, Quentin continues to look for his portrait.

Just as Nora arrives at the rectory, Trask catches up to her, dropping his hand to her shoulder.  I knew you were lying about going to the garden, he says--you have lied to me, and that grieves me very much--Jamison is in his room, I went to see him. Who lives in that house? he demands. I don't know, says Nora. Then what are you doing here? he asks--what's that in your hand? Please, Reverend Trask, she begs. You lie so easily, he says--we will correct that in time. He demands the envelope.  Nora refuses to give it up. You're an evil child, says Trask, we both know it, and you will pay for it. He grabs the note from her.  She tries to run, but he warns, you are to stay here while I read what is in the letter! He opens it and reads...

5:40 PM - Amanda looks at the clock and starts to put on her jacket.  She answers a knock at the door--Trask.   Don't bother coming in, she says. I do my duty as I see fit, he insists.  He notices her suitcase and realizes she is leaving. You cannot allow your life to end like this, he says. My life here has already ended, says Amanda--I'm sorry. . .no, I'm not--I promised to be honest with myself from now on. You've always been honest with me, he says. No, I haven't, she says. Don't tell me that I do not recognize honesty when I hear it, he says--you were lost and you saw the light. Yes, I was lost, but not the way you thought, she says. Now you are tempted again, he says. No, she says, and don't call me your dear child. You cannot commit this sin, says Trask. It's not a sin, she insists. You don't know, he says. YOU do not, she throws back. You are running away with Quentin, he says. She turns, surprised. Do not deny it, says Trask. I won't, says Amanda. When you first came to me, he says, you were in the depths of despondency because of a man--surely you can see Quentin is no better?--I have seen what effect Q has on women. Understand me, she says, I came to you with a lie, a trick, I wanted you to fall in love with me--it was cheap, contemptible, and I hated myself--but I saw the way you looked at me and thought, he deserves it! (Go, girl!)--whatever he gets, he deserves! I looked at you with acceptance, forgiveness! he insists. She laughs--you're a hypocrite, and I haven't time to listen to your lies! MY LIES?! he cries. You live them! she says. I live to help others! he yells--I want to save you from misery and sin!--don't you realize the path down which Quentin will lead you--do you believe what he's told you? Yes, she says, I do. Do you know where he is? asks Trask.  Yes, he's leaving Collinwood to meet me, she replies. Oh, indeed, says Trask, is he bringing Angelique with him?--when I left Collinwood, they were together in the drawing room--laughing!--were they laughing about you? he asks. I don't believe it, she says. I overheard them making their plans for the evening, says Trask.  Not true, says Amanda.  The carriage was waiting outside, says Trask. "To pick him up at the station," says Amanda. No, says Trask, no, to take them to the Inn, where they are having dinner tonight!--I'm not telling you this because I enjoy it (yeah, right!)--you have hurt me, but I won't be guilty of trying to repay in kind--surely you must face the fact that Quentin is incapable of compassion or morality! He forces her to face him and says, you must never speak to Quentin again. "Get out!" she orders. My dear, he says, you must control yourself, I am your only friend.I never want to see you again! she screams at him--"Get out!" Trask looks stunned.

Quentin has failed to find his portrait. Tate lies, still unconscious, on the floor. Quentin nervously checks the clock. Time is running out!

Quentin arrives at the rectory, but Amanda is no longer there. Nora is, and fearfully says, Trask took your note from me.Both Nora and Quentin are miserable. I must get to the station, says Quentin, departing hastily.  He leaves Nora alone there, looking as if she's going to cry.

At the train station, Amanda waits. The conductor tells her that her train is about to leave--if she's going, she had better go. Amanda looks from him to the train, not knowing what to do. Has Quentin changed his mind?

NOTES: Trask is such a total sleaze, the man should be shot, hung and dismembered, in no particular order. Amanda doesn't have much self-confidence, even if Tate, Tim, Quentin and Trask are all in love with her, so she's willing to believe Trask's lies. Trask treated Nora horribly, but the little girl is brave for sticking around to tell her uncle what happened to his note. Everyone wants to throw roadblocks into Amanda and Quentin's path to happiness, which is what Tate did by stealing the painting. If he can't have Amanda, no one will, especially Quentin. Fight scene was pretty cool, although it looked like some things didn't go quite the way they were supposed to. Frankly, the Tate/Amanda/Quentin/Trask quadrangle kind of bores me.


851 - Train station - Quentin sees Amanda has waited for him, and is thrilled. He turns the woman around to face him, only to find it isn't Amanda, but a woman who resembles her, from behind at least. The train for NY has left, she tells him, I just got off it. I made a mistake, he says, stricken, clearly disappointed--a terrible mistake.

Tate is lying on the floor amidst the shambles of his studio when someone knocks, but he returns to consciousness.  It's Petofi, who wants to speak to him.  Charles rights a chair, then opens the door. Quentin didn't lose much time, says Petofi--the portrait--did he get it? Tate pretends ignorance.  Where is Quentin's portrait? Petofi demands--the one you stole from his room. Why do you say I stole it? asks Tate.I don't know or care why, says Petofi, I just want it back--your action was incredibly rash and idiotic--Intend to punish you for stealing it--don't make it worse. Tate hands the portrait over to Petofi. None the worse for its adventures, remarks Petofi--it would have been unfortunate if it had sustained damage--I don't mind theft, but I do mind stupidity--I have plans for Quentin, and I won't allow them to be ruined. You didn't mind interfering with my plans, complains Tate. What do you mean? asks Petofi.  I asked Amanda to marry me, says Tate. And what did she say? asks the Count. She might have said yes if he'd given her a little time, complains Charles--he just stole her away. Very romantic, says Petofi. It won't be, insists Tate, not after she spends a little time with him. So the fair Amanda is planning to run away with Quentin? says Petofi. Yes, on the six o'clock train, says Charles. How did you think stealing the portrait would prevent that romantic adventure? asks Petofi. I'm not sure, says Charles.  You're being evasive, accuses Petofi.  I was confused, Tate admits. The portrait is mine and I intend to keep it, says Petofi. You found your ideal in Amanda, youe lost her, but you have a stable mind (?), and I understand and almost forgive you this aberration--this was the only time you ever deceived me, right? asks Petofi.  Yes, Charles assures him. Then we know where we stand, asserts Petofi--Quentin has Amanda, I have the portrait, and you have all the pictures you painted of her--I want to confess something I've never told anyone--I have an ideal, a face I see as I drift off to sleep, a beautiful woman who haunts my dreams--tall, with raven hair and eyes like a cat--could you draw this woman for a lonely friend? It's something you see in your mind, says Tate, I can't put it on paper. Try, demands Petofi, do try, just a quick sketch will do--draw a woman with black hair and eyes like a cat--Is there some reason you don't want to do it? asks Petofi, noticing his hesitation. I don't want to disappoint you, says Tate. I'd only be disappointed that you're hesitating to do as I ask, says Petofi. It's hard to look into another person's mind, says Tate. Look into your own, then, suggests Petofi, create someone from your own imagination--do as I say and let's see what happens. Tate refuses--I'm afraid. Of disappointing me, or something else? asks Petofi. No, nothing, says Tate, I'll try. He quickly draws on the sketch pad. Excellent, says Petofi, one more stroke and she'll be finished (dirty mind central?) "She's so beautiful, and so real, I can't believe she isn't in the room," says Petofi. Charles turns to him--NO, she's not here! he insists.  What's the matter? Asks Petofi.  Charles, seeing nothing, smiles, relieved. I'm sorry I forced you to draw my ideal woman, says Petofi. I thought you might be disappointed, that's all, says Charles. Smiling, Petofi reminds him, I ALMOST forgave you for stealing Quentin's portrait, and I almost did--but not quite--because you were arrogant, and must learn painful humility...goodbye, Charles--I am sorry for your loss. Wait, says Tate--but Petofi is gone. Tate looks at the drawing he just did, and begins to sketch another. The pencil slips from his hand. No, he couldn't have...it's true!--I can't sketch at all, not a single line!

Quentin answers a knock at the door--Tim, bearing a note from Amanda.  Everything in my life has been unreal until now, she writes--I've found reality and it changed completely. Reality, hell, she found a new man, says Tim. Be quiet, orders Q. I returned you brooch, continues Amanda--give it to your next companion, I have no use for it. What does she think she'll gain with you? asks Tim, it won't be diamonds. He closes his hand over the brooch. She doesn't want diamonds, says Q. Doesn't she? asks Tim, you have much to learn about Amanda. Teach me, says Q. What does that mean? asks Tim.  Tell me everything you know about her, says Q, where you met her, who she knows in NY and where she might go if she left here. I'm not talking to you, insists Tim, I'm here to see Amanda. You can't, she's gone! Says Q.  Without you, Quentin? asks Tim nastily--oh, she up and left without her Quentin, that's the best news I've heard in a long time! She left without me, says Q, but I'm going to find her, and you will help me. The only future she has with you is death! spits Tim. He tries to leave, but Q grabs him around the throat--you're going to tell me all about Amanda, or you won't get out of this house alive, threatens Quentin, applying a little pressure to Tim's throat.

Start talking, Quentin commands Tim, who, under such duress, agrees to speak.  Quentin tosses him across the room, nearly causing Tim to take the wobbly banister with him. We met in New York, Tim explains--I don't know much about her, she stayed at the Hotel Holbrook, never received messages or mail, or visitors--no outstanding habits or generalities--you will have a difficult time finding her--if you love her, leave her alone, demands Tim, I won't let you destroy her.The two of them get into it, fighting, which ends when Quentin literally tosses Tim out on his ass. From the top of the steps, Angelique asks, why were you so rough on Tim Shaw? He was interfering with some of my plans, replies Q. What plans? asks Ang.  They wouldn't interest you, he says. All your plans interest me, says Angie, smiling--especially your marriage plans. I have none, he says. I know, she says, isn't it time you did? No rush, he says.  Sensing his reluctance, she asks--when are we to be married--you can choose the date. When I return from Boston, he says, I have business there.  That's why I was arguing with Tim--he gave me some info I don't trust--I want to go check it out. That's not like you, says Ang, to be so interested in business. I've seen Tim's success and am sorry I haven't made more of my life, says Q. Oh, she says, I don't know if I like the new, serious Quentin, but will marry you anyway--when? Complications may keep me in Boston longer than I expect, he says--I don't want to choose a date and miss the wedding. I wouldn't like that, either, agrees Ang. Well, I've gotta pack now, he says. She offers to help.  I can do without you, he unwisely replies. Perhaps you can, but don't decide to try, she advises. He runs upstairs. She's disturbed. She answers the door to Petofi, who wants to see Quentin--I'm glad he's still here. Did you know he was going away? asks Ang. Did YOU? counters Petofi.He just told me, she says. Where is he going? asks Petofi.  To Boston, she says. Do I detect distrust in your voice? asks Petofi--you're very beautiful, and I've admired you a long time--it's unbelievable to me any man should prefer another woman over you. Ang is startled--what are you talking about?  I think my conversation tonight should be with you, not Quentin, says Petofi. I'm not sure I'm interested, says Ang.  I think you will be, says Petofi--you see, we have a common cause, at last!

Quentin comes downstairs, suitcase in hand. Petofi meets him in the foyer--I heard you were going to New York with Amanda Harris. I'm going, insists Q, and you can't stop me. Why should I? asks Petofi, she's a very lovely girl--you think my plans for you depend on your staying here, but distance is no impediment to me--wherever you are, I will be with you, says Petofi--come, catch your train, find your fair lady, wherever she may be. And he ushers Quentin out, laughing wildly.

Tim keeps staring at Amanda's note and brooch. Petofi comes to see him--I saw Tate, he says, and found out quite a few things--I learned that your pretty companion has fallen in love with Quentin, he says, putting a comforting hand on Tim's shoulder--they plan to go away together. Petofi reads Amanda's farewell note. What happened at Tate's studio? Asks Tim. Curious how Amanda seeks a reality, comments Tate. Did Charles draw a person for you? asks Tim.  Yes, he did, says Petofi, admiring the brooch. Amanda likes surprises, says Tim--one day Quentin will give Amanda the last surprise of her life. You're really concerned, observes Petofi, so I'll put the situation to rights, do what must be done. "I want her back," says Tim. I said I would do what must be done, says Petofi--that will have to content you for now--since you've been so patient, I'll tell you what happened at my meeting with Charles--nothing--I tested him and he failed miserably--he drew a lovely woman but she failed to meet the "dimension" of Amanda Harris, he laughs. Tim, stunned, insists, I saw a man come to life! You saw what you wanted to see, says Petofi--a curious phenomenon--hungry men dream of food, when a man has been hungry long enough, he imagines he sees food even when awake--you have dreamt of wealth and power for a long, long time. Do you think I just imagined this? asks Tim, frustrated and pissed. Petofi comforts him--what else am I to think?--don't be bitter, there are still ways we can be of use to one another. He bids Tim good night.  Shaw sits down, Amanda's note in front of him--but the brooch is gone!

Quentin stands at the station, holding his cape together at his throat against the cold. The train pulls in.  He suddenly feels Angelique grab his shoulder. That's the train to New York, she says--you told me you were going to Boston. I changed my mind, says Quentin. You're going to New York to find Amanda, she says. What do you know about her? asks Quentin.  That you think you're in love with her, says Ang. I know I am, insists Quentin.  It's a bit inconvenient, considering we are getting married, points out Angelique. I tried to care, he says, and would have gone through with our bargain, if I hadn't met Amanda, but the way I feel now. . .it only happens to a man once in a lifetime. Don't bore me with this nonsense, orders Angelique--there isn't time!  You're right, he says, I have a train to catch. I warn you not to, she says. Are you threatening me? he asks--what will you do, kill me?--go right ahead--at least I'll die walking away from you!  (ooh, Barnabas never came up with a diss that good!)  I won't hurt you, she promises, but...  He realizes what she's implying and his grow large when he notices she has Amanda's brooch."But Miss Harris will not be quite so fortunate," says Angelique, taking out a clay doll. She holds the pin of the brooch over the clay figure-- wherever Amanda is, when I pierce the doll with my brooch, she will die, horribly, and painfully. You wouldn't do that, says Quentin, licking his lips nervously. Angelique looks up at him--you'll make me do it if you get on that train--you decide, Quentin, will Amanda Harris live...or die?

NOTES: Ang up to her old tricks--this time she's threatening a Collins male's beloved girlfriend instead of his sister, but it's still typical Angelique, having to force a man to say "I do."

Petofi is a nasty bastard, taking away poor Tate's painting power completely. He really doesn't believe in minor punishment, does he? Brrr, that man is cold, reminds me of Goldfinger. And what's even scarier, it appears Petofi and Angelique are in cohoots, since he must have given her Amanda's brooch in the first place.  That's one pairing that bodes ill for everyone, especially the Collins family!

Petofi has a new plan in mind.  I wonder what it is?

Love, Robin

846 - Charity, a tear glittering in her eye, looking dazed, sits in the Blue Whale.  Tim Shaw is there, remarking, you're up early.  I haven't been to bed, she says.  The tear slides down her cheek.  "I done it," she says, and slams her hand on the table--I want a drink!  It's not open, says Tim.  I'll help myself, then, she says.  Get some sleep instead, he advises, you can't carry the party on indefinitely.  Party? She asks, giggling madly--it weren't no party, Luv, believe me!  She pours a drink.  Tim, listening to her insane cackling, takes it away, advising her not to have it.  She continues laughing.  What's wrong with you? he asks--be sensible, what's wrong with you? Nothing's the matter, she says--my Carl, who loved me so, can rest--"It was terrible, the blood!--the blood!  I put the stake over his heart. . ."  "What?" demands Tim.  "I brought the mallet down," she continues--"He screamed!"  Who? Demands Tim.  "The vampire," says Charity.  "I've just killed Barnabas Collins!"  And she sinks into the stunned Tim's arms.

Tim helps Charity drink her drink.  She chokes--I did it for my Carl, she murmurs.  Where did you find Barnabas' coffin? asks Tim.  I found it, she says.  How, he asks, the Collinses have been searching, Petofi, Trask...are you making it up?  No, she insists, I don't think the Collinses wanted to find him, after all--Quentin didn't, I know that--I followed him there, he couldn't do it!--I saw the stake hammer lying on the ground...  She bursts into tears, her head falling into the circle of her arms on the table.  Does anyone else know about this? demands Tim.  No, she says, sobbing.  Did Quentin see you? asks Tim--good, Edward will be very grateful to you.  I don't care, she sobs.  Don't be foolish, he says, you can demand a big reward for what you did.  I don't want one! blares Charity.  I want us to go speak to Edward, he says.  I don't want to go there! Insists Charity  Yes you are, he says, just decide what you want--you've done that family the biggest favor they've ever had.  She gets hysterical--"I don't care!" she shrieks.  Tim grabs her and says, you've got to care--we'll go straight to Edward.  I want to forget, that's all, she cries, just forget.  You can't, says Tim, not this, and no one else is going to forget it, either.

Kitty is looking into her fire, and smiles when Edward knocks at her door.  She checks her appearance, puts on perfume (she looks delicious) and says, "Come in!" in a very fake happy voice.  KITTY! he cries, delighted.  He takes her hands, delighted to see her.  She's smiling, running to him.  I was astonished when a maid told me you were here, he says--but where is Gerald?  Her smile fades--you haven't heard?--I should have cabled, everything happened so suddenly--Gerald is dead.  Not possible, says Edward, calling her "poor dear", trying to take her into his arms.  She doesn't allow that, and says, "No, Edward, please don't feel sorry for me, I'm determined not to feel sorry for myself."  What was the cause? asks Edward.  He didn't feel right, says Kitty, I should have known, I blame myself, no sense of pretending, since you and Gerald were so close, but in truth, Gerald killed himself.  Oh no, why? asks Edward--business reverses?--you and he were so happy together!  Yes, agrees Kitty, thank you for remembering that.  She begins to cry.  He takes her into his arms, soothing her.  I'll never forget Gerald, she murmurs.  You were wise to get away, he says--a visit here will give you proper perspective again.  I'm never returning to England, she says, even though I was happy there, from the first moment my carriage passed through the gates of Hampshire House--I was so frightened before then, rhapsodizes Kitty, not knowing what the children would be like or what these English strangers would expect from an American governess, but the moment I saw that house, I knew it would be all right.  And it was, says Edward.  And I felt the same way last night when I saw THIS house, says Kitty--oh, Edward, do you mind my being here?  I was touched and flattered that you came here, he says, holding her hand against his chest--I want you to stay as long as you like--if Judith were well, I know she would insist upon it--you will be an adornment to Collinwood.  She gazes at him as if she'd like to kiss him, but he looks uncomfortable.  I brought you something, she says, knowing Gerald would have wanted you to have it, since you admired it since having dinner at the Admiralty.  Edward opens the box--his emerald (cuff)links, he says, overwhelmed--I couldn't.  You must, she says, it will help you to remember when Gerald was happy.  You'll be happy again, Edward assures her.  Yes, says Kitty, perhaps I will be in this new life I'm starting.  "This new life you're starting...with us," says Edward, intimately touching her hand as she closes the box containing her dead husband's cufflinks.  (Can you say golddigger, boys and girls?  Is she the biggest phony you've ever seen or what?)

Collinwood foyer - Charity tells Tim, this is none of your business.  You never know when something is becoming my business, says Tim.  You got me here, says Charity, but don't go trying any of your fancy tricks on me--I want nothing from them and there's nothing that can change the way I feel about it!  Edward comes downstairs and greets them--I'm busy, he says, tell me what it's all about.  We have news of great interest, reveals Tim.  I doubt that, says Edward.  For once, you're wrong, says Tim.  What is it? asks Edward.  "Barnabas Collins is dead," reveals Tim, to Edward's shock.

Drawing room - So, says Charity, now you know the whole story, and I can go.  Tim tries to stop her.  Edward says, if I couldn't deal with the vampire, I doubt you could--I suspect it's another of your lies.  "Don't believe me then, Luv, it don't matter a wit to me," she says.  I don't know your connection with this, Mr. Shaw, but I suspect you're taking advantage of an unfortunate creature.  Charity takes offense to this--you don't know the truth when you hear it.  You had best listen to her, advises Tim.  I already have, says Edward, then turns to Charity and says, I don't know what will happen to you, but you must stop this scurrilous story!  Go and see for yourself, she advises--go on, Mr. Collins, or don't you care, either, grand Mr. Collins?--maybe you've been protecting the vampire, too!  No, says Edward, I wanted to be rid of the vampire, too.  Let's go to the cave, suggests Tim, we'll find out easily that way.  Edward agrees, but says, you will both stay here--I'm going alone.  I'm in on this, says Tim and want to come along.  Edward agrees, but orders Charity to stay--I'll want to speak to you when we return, whatever we find.  Tim and Edward go.  Angry, Charity thinks about how they're always ordering me around, treating me like a servant or something--what will happen when Quentin hears I killed Barnabas?--why did he lie to me and say he didn't know where the vampire was?  Kitty comes in and introduces herself to a suspicious Charity as Lady Hampshire.  "LADY Hampshire, oh la di da!" cries Charity mockingly.  I was looking for Edward, says Kitty.  He ain't here, answers Charity.  Did he say where he was going? asks Kitty.  Did he ever, laughs Charity, but he wouldn't want you to know, since you aren't a member of the family.  Kitty haughtily says, I'm a guest here.  "I was almost a Collins," says Charity--"I'd have been mistress of this house if my Carl hadn't died.  Carl was the nicest one," she confides.  "I'm Pansy Faye!"  I'm pleased to meet you, lies Kitty--if you'll excuse me.  Charity hesitantly asks, could you stay and keep me company--I'm kind of nervous, with everything happening...  What is happening? demands Kitty.  Never mind, says Charity, they'll let you know if they want to--but listen, if this house ever gets to be too much for you, get Quentin or somebody to bring you down to the Blue Whale--you can watch my act, I sing, and I see things, too, sometimes, I'm a mentalist!" Most fascinating, remarks Kitty, insincerely.  I got powers, says Charity, I didn't used to, but I do now--I know things about people they don't even know themselves--I know things about you, says Charity.  This unnerves Kitty, who asks, what do you know about me?  "Do you hear that?" asks Charity.  Kitty hears nothing.  Then Charity begins humming Josette's theme.  Kitty listens, bored, as Charity finishes the music box theme.  I don't know that song, says Kitty.  "You will," predicts Charity.  "I can see it...where the music box is coming from!"  (We see Josette's music box appear between Charity's eyes).  An old music box, says Charity.  Kitty, annoyed says, I've never had a music box, and probably never will.We see the music box open in Charity's vision, then disappear.  Destroy the music box, orders Charity.  Kitty insists, I don't have one.  You will! cries Charity--destroy it as soon as you get it--keep it and it will mean your death--remember that.  Kitty just looks in astonishment at the babbling Charity.

Tim and Edward go to the cave.  "To think that his life would end here," comments Edward regretfully, "in a dismal cave."  He opens the coffin and looks inside, then closes it again.  "Barnabas Collins is dead--may he rest in peace," says Edward--the coffin must be chained, the cave sealed, insists Edward--he must remain here forever.  He and Tim leave the cave.

Remember the tune, Charity urges Kitty, and hums it again.  Kitty furiously says, I've heard quite enough! and runs from her, upstairs.  Charity comes after her, warning, this house holds danger for you, dangers you don't know about--you'll see.  Leave! demands Kitty.  Edward and Tim return.  Charity smugly asks, what did you find out?  Take her to the drawing room, Edward orders Tim.  Charity finds this insulting--like I'm a bloody package!  Tim closes the double doors behind him.  I'm sorry Charity upset you, says Edward to Kitty.  "She's mad, isn't she?" asks Kitty.  Yes, but someone must deal with her, says Edward--I'm entranced by you, he says--let's have a special dinner tonight, just the two of us--I was wrong when I said life is starting over for you--it's starting over for both of us.  Kitty smiles--her plan is going beautifully!

Edward joins Charity and Tim in the drawing room.  It will be a long time before you call me a liar, won't it? Charity asks Edward.  I'm prepared to admit I was wrong, he says.  Mighty decent of you, she says sarcastically, ain't it, Tim?  You expect a reward, don't you? asks Edward.  It does seem fair, Tim pipes in.  Stay out of this, orders Charity, and speaks directly to Edward--I want no thanks, nothing!  I'd like you to answer one or two questions, says Edward, which might seem strange, about Quentin--you followed him to the cave?  He knew where the vampire was, reveals Charity, I got that feeling, talking to him here, that's why I followed him.  If he knew, why didn't he come to me? wonders Edward--he could have kept it in the family.  You can count on us to keep very quiet, Tim assures him.  Can I indeed? asks Edward.  "She'll keep it quiet," promises Tim, "I'll see to that."  You will, will you? asks Edward--I'm sure of it, and no doubt at a price--what is your price?  Sometime I might want a little favor, says Tim.  I'm prepared to do you a favor right now, says Edward, by taking Miss Trask off your hands.  You may deny being Charity Trask, Edward tells Charity, but I remember the day you came into this house with your father--perhaps it's fortunate he's visiting Judith, he might not agree to what I'm going to say--"Stay here with us--we can get proper treatment for you."  Proper treatment? demands Charity, insulted--"Who'll get proper treatment in this house?"  There are doctors, he says.  I'm not sick, Guv, she insists.  He asks, do you remember the girl you were when you first came here?  I remember coming here with my Carl, she says, and this house holds no happiness in it, for no one!  We will change all that, says Edward.  It will never happen, she insists--I love my life, singing at the Blue Whale, I ain't about to start sitting around at my age!--if my Carl was still alive...  Miss Trask, says Edward.  She explodes--you are NOT to call me that name, you should call a lady what she chooses, and I choose Pansy Faye!--you got that?  She tells Tim, I want to get back to town.  Tim assures Edward she'll be all right--drop in and see us at the Blue Whale sometime.  I doubt I'll find the time, says Edward, but I'm sure you will find the opportunity to drop in and see me--when you want something.  Tim leaves.

Kitty is in her room, writing a letter to her mother.  She smirks as she reads it--"Edward has been exactly as I expected, hospitable, understanding and very dear.  The house is nearly as grand as Hampshire House, and he's invited me to stay as long as I wish--thank goodness, because I barely have the money to come to you in PA.  Things are looking up now!"  She folds the letter and inserts it into an envelope.  She's affixing the stamp when she spots it--Josette's music box, sitting on a couple of books on her desk.She remembers Charity's words--an old, old music box--you must destroy it, it will cause your death!  Kitty opens the music box.  Josette's theme trills from it. She listens...

NOTES:  We know what Kitty is really all about, after Edward for money and security.  She's so blatant about it--but Charity's predictions are right on.  She was such a hoot today, although I didn't appreciate her staking our favorite vampire.  Tim continues in his Bad Boy ways, looking for money and favors wherever he can find them.  Edward's apparent regret/sorrow over Barnabas was touching; vampire or not, he was family, and that's important to Edward.  At least he wished him a peaceful rest.  Charity's disgust over what she did was palpable.  Would she want to kill Quentin, too, if she knew of his equally guilty role in Carl's death?

Great episodes, but now we have the Barnabas drought.


847 - Tim paces Petofi's mill, then sits down.  Beth enters.  That's HIS chair, she says--he doesn't like anyone else sitting in it.  Tim sits elsewhere.  Beth says, surely you don't want to displease him.  When he hears what I have to say, predicts Tim, he's going to be quite pleased.  Why? she asks.  Wait and see, advises Tim.  I get the feeling you believe Petofi will be more than grateful, says Beth.  Smiling, Tim remains silent.  Petofi enters and hands Beth his hat.  (shot of Mike R. Phone)  Petofi remarks to Tim, you stop by with disquieting regularity; your persistence is admirable, you impatience annoying--I'll send for you when I have a chance to consider the matter we discussed.  I have news you've been anxious to hear, reveals Tim--Barnabas Collins is dead.  How unfortunate, says Petofi, I must offer my condolences to Dr. Hoffman...

Petofi says, I seem to have disappointed you in some way--did you expect me to bask in the warm glow of gratitude?  You knew Barnabas was dead, accuses Tim--had something to do with it--you're acting much too casual about this.  You thought that bringing me this information would obligate me to you in some way, says Petofi--you are wrong.  Wouldn't you even like to know who was responsible for Barnabas' death? Asks Tim.  It doesn't matter, says Petofi.  Tim spills anyway--Charity Trask.  This seems to surprise the Count.  Remind me to send dear Miss Trask some flowers, Petofi tells Beth, then orders Tim to stick around--I have things to discuss with you when I return.  Petofi leaves.  Tim asks Beth, did the Count have something to do with Barnabas' death?  She looks evasive--I wouldn't know, she says.  What's wrong with you? he asks.  Nothing, she replies.  You're sorry Barnabas is dead? asks Tim.  I have no feelings on the matter, claims Beth, one way or another.  Why do you seem so upset? asks Tim--what was Barnabas to you?  Go sit down and wait, she orders Tim--if you're good and do what Petofi tells you to do, your greed may be rewarded (zing!)

Julia prepares an injection and places it in her doctor's bags.  Someone knocks; she looks concerned.  She opens the doors--Petofi.  You need not be alarmed, he assures her, I have no intention of harming you--I congratulate you on the bravery of Barnabas and the ineptness of Aristede for leaving you alive--but you find yourself in a predicament now; you cannot rely on Barnabas to assist you.  Why not? asks Julia calmly.  Barnabas is dead, replies Petofi.Julia gasps in shock--I don't believe it, she says, it's one of your tricks!  He offers to show her the proof.  I saw him last night, she wails, beginning to cry, he was with me last night!--did you kill him, or have him killed?  My hands are clean, says Petofi--Barnabas fell victim to the wrath of an outraged woman--Charity Trask drove a stake through his heart--her motive was revenge; Barnabas apparently caused the death of her fiance.  Julia can barely speak--where is the body? She asks.  Edward Collins must know, says Petofi, but I advise you against seeing him--he might ask some very embarrassing questions.  Are you protecting me so that Aristede can have another try at killing me? asks Julia.  I haven't seen him since he botched the first attempt, says Petofi--no, you're alone now, friendless and unprotected in an alien world--you can't stay here long, soon you shall return to the future--when you do, I will be by your side--you'll be under surveillance morning, noon and night--good day to you, Doctor. Julia looks lost and depressed.

So does Quentin, who sits in the drawing room listening to his music.  Amanda, in a stunning yellow gown (she finally got rid of the pink frilly thing), sits beside him and teasingly asks, do you play any other song?  Where were you this morning? He asks, I was looking for you.  I took a walk along the beach, she says.  I would have liked to come with you, he says, his manner more than a bit romantic.  I wanted to be alone, she says, smiling.  Why? he asks.  I just felt that way this morning, she says.  I was thinking about you when you walked in, he says.  I find that a bit disturbing, she says, you listening to that sad music and thinking of me.  Believe me, he says, that music isn't as lovely as you are.  He kisses her, hard, and long, then says, I love you.  She looks suspicious and unhappy, and doesn't respond.  Did you hear me? he asks.  Yes, she says, but we can't have it this way, you don't know enough about me.  (Did she call him Tim?)  I know what I feel--and you feel, he assures her.   We like and enjoy being together, she says, that's the way it should be--a good time and joy of being together, no sadness or regrets.  You don't believe a word you're saying, he says.  Yes, I do, says Amanda--I know what's good for us and what isn't.  Look at me, he says.She does, finally.  You tell me you don't love me, and never could, he asks--come on, if that's the way you really feel, tell me.  She goes into his arms, wondering, why did I have to meet you now?--why must it be this way?  "I do love you, Quentin, I do," she murmurs.  They kiss, another juicy liplock.  Petofi catches them.  You're a man of endless surprises and impeccable good taste, remarks the Count.  Amanda and Quentin look at him, unsmiling.

Has Edward given you the run of the house, considering you didn't knock? asks Quentin.  It doesn't matter, smiles Petofi, you were far too preoccupied to notice me--it's pleasant to see you, Miss Harris, but I must speak to Quentin alone.  She leaves.  Petofi nods at Quentin, who takes a drink.  She's very beautiful, comments Petofi, but what will you do about your engagement to Angelique?  Quentin hands a drink to Petofi and pours another for himself.  "Break it," says Quentin.  I see, laughs Petofi.  I do admire a man who lives as dangerously as you do--what do you think Angelique's reaction will be?  I don't think she'll be very happy, says Q.  Petofi says, I'd give anything to witness the fury Q you are about to unleash.  What do you want? asks Q.  I congratulates you for a job well and cleverly done, says Petofi.  Q is puzzled.  You disposed of Barnabas Collins, says Petofi--having Charity Trask drive the stake through his heart was a stroke of genius!  Quentin is stunned.  Barnabas is dead? he asks.  Dead and soon to be forgotten, says Petofi.  Charity must have followed me there, says Quentin--I had no idea.  Admit you arranged it all, says Petofi.  I went there to do it myself, but I failed, do you understand, I failed, says Quentin fiercely.  I understand that you succeeded, says Petofi--how you did it is of no consequence.  I didn't! Quentin shouts--I wasn't responsible for that.  Yes, you were, says Petofi, as guilty as if you hammered in the stake yourself, I assure you--and now, for your next assignment--Julia Hoffman.  Quentin says, I want no more assignments, nor anything further to do with you.  You know you don't mean that, says Petofi.  Yes, I do, I can't go on living this way, insists Quentin.Consider the consequences of cutting yourself off from me, says Petofi.  I have, says Quentin through gritted teeth, and I don't care what you do to me.  Don't think what I might do, says Petofi, think of what YOU might do--think of that lovely lady who left the room just now--think of the consequences to her if you revert to what you were--you are in love with her, right?  Yes, admits Q.  Then I assume you want both of you to stay alive, suggests Petofi, keep the beast from her door, so to speak?  Quentin ponders it, leaning against the window.  That's much better, says Petofi, taking silence as assent.  He puts his hand on Q's shoulder--I assure you you will learn to enjoy your new life--watch Julia day and night--report every move she makes to me--  good day, Quentin.  The Q-man looks outside and hates himself.   Amanda enters and says, I met Petofi once before--he was frightening!  You have every reason to be frightened, agrees Q.  Why did he come to see you, what does he want from you? she asks.  More than I'm willing to give, says Q.  Amanda doesn't understand.  Quentin slams the window closed and doesn't answer.  What's wrong? She asks.  He looks at her and says, we're going away together, it's the only way out--we'll leave, get married, never come back!  We can't, says Amanda--I can't.  I thought you wanted to leave Collinsport? He asks.  I do, she says, but...  I'm giving you the opportunity, what's to stop you? he asks.  Impossible she says.  Do you love me? he asks.  Yes, she assures him.  Then it's possible, he insists.  It can never be, she says--I can never love anyone, nor can I be loved.  I've never met a woman more deserving of love, says Quentin.  Please don't say that, she begs.  He puts his arms around he and says, in my whole life, I've never met anyone like you--I never felt this way, he says caressing her shoulders, I never knew what it was to be in love like this.  She turns to face him--stop talking like that, she begs--it can never work out between us, I can't explain it, I can't...and she runs away.  Quentin looks after her as she retreats, perturbed.

Petofi smokes a big cigar in his lair, lighting it from a candle.  He suggests to Tim, let's be frank--your obvious reason for coming to see me--currying favor by bringing me information.  Tim insists, I naturally thought you'd be interested to hear it.  If you want to earn my gratitude, says Petofi, you'll have to do far better than that.  Tell me what I must do, asks Tim.  Petofi asks, do you know anything about I-Ching?  Tim doesn't.  Oldest form of mysticism and divination in the world, says Petofi--it can produce miracles, or lead to disaster, and one can't tell which--I want you to assist me in an experiment by going into the I-Ching trance.  What does it involve? asks Tim, any great danger?  There's no adventure without an element of danger, says Petofi--does that frighten you?  What's in it for me? asks Tim.  Find what I'm seeking, says Petofi, and name your own price.  Tim looks intrigued.  Just what is it that I'm looking for? asks Tim.  I shall tell you after I explain how I-Ching works, says Petofi, leaving the room.  Tim stands, walks a few steps.

Quentin answers a knock at the door--Julia.  You're taking a big chance coming here, he warns.  I know, she says, I won't stay long.  He quickly ushers her into the drawing room and closes and locks the doors.  Have you heard the news about Barnabas? she asks.  Yes, he says.  I have a message for you from Barnabas, she says, something he told me before he was killed--"He said that if anything ever happened to him, I was to come to you right away and have you leave Collinsport immediately--he said you were under enormous danger from Count Petofi."  I have realized that myself, says Quentin--I'd advise you to either leave Collinsport or return to your own time.  I can't leave now, she says.  There's nothing here to keep you, insists Quentin.  I must finish some things Barnabas started re: the Collins family she says.  If you stay another minute, you're crazy, he says urgently--I know what I'm talking about.  Petofi is convinced I will eventually show him the way to the future, says Julia, so he can't kill me--you are the target and must get out before he traps you here forever!

Petofi has Tim sit before the thrown I-Ching wands--concentrate on the door, orders Petofi, then pass beyond it--and remember everything you see beyond the door--that's vitally important.  Tim concentrates, the wands spin.  We see the Collinwood drawing room, Amanda being approached by someone in a hooded cloak.  The figure strangles Amanda, who pulls off the hood to reveal a hideous devil's mask.  She tries to flee, but the figure catches her.  Terrified, she cries out, No!, but it approaches her, it's horrible eyes glittering.She pushes off the mask to reveal Quentin, who laughs as he gleefully strangles her!

NOTES:  We saw a strange clue--Julia putting a filled hypo into her doctor's bag.  Why?  Quentin dismisses his engagement to a witch awfully easily; does he really think Angelique will let him marry someone else?  She's been there, done that, and one suspects won't allow yet another Collins male to escape her clutches.  Petofi seems willing to sacrifice anyone to learn what he needs to know about I-Ching.  Human beings are nothing but lab rats to him, all dispensable.  Quentin really does seem to love Amanda, he never spoke that gently or sincerely to poor Beth, who seems to be really getting into becoming one of Petofi's minions.  Poor Q, learning Charity finished what he couldn't even start--and his friend is dead, for real!

Love, Robin

844 - Before Tim and Charles' disbelieving eyes, the creation moans in agony and disappears, fading away.  You're an idiot! says Tim--this is incredible.  It DID happen, says Tate--I'm in shock--what's happening to me, what have I become?--please, give me a drink.  Tim hands him some booze, which Tate drinks eagerly.  We have matters to discuss, says Tim--now.  You murdered a man, says Tim.  No I didn't, retorts Tate. What do you call it? asks Tim.  He wasn't a man, explains Tate, in a real dither--he was an idea that took form, he never existed, and this never happened and never will again. Let's talk, Tim suggests--perhaps we can incorporate this into your sense of well-being.  How? asks Tate.  Talk to me right now, suggests Tim, pouring another drink.  I don't know many people in Collinsport, admits Tate--I know one very well, unfortunately--I met him 10 years ago; if I'd only known then...  Tim hands Tate another drink.. What happened 10 years ago?" asks Tim.  The person I created actually came into being then, says Tate, I was living in Paris, trying to paint. . .a man came up to me and introduced himself--  He said, "My name is Count Petofi."

Quentin's room - I must learn why Julia Hoffman came here from her own time, insists Petofi.  Annoyed, Quentin says, she came here to save Barnabas from Edward.  And she did, says Petofi--remember, Quentin, any friendship between you and Barnabas is impossible, there is nothing left.  But hypocrisy and lies, huh? asks Quentin.  Sorry if that pains you, says Petofi, but that's the way it is.  I'm not sure how much I can help you, says Q, because I'm not sure how much Barnabas trusts me--he hasn't told me where his coffin is.  I am very sure, says Petofi, that Barnabas will tell you what I want to know, since you are a man of such considerable charm--speaking of that, your bitterly disappointed Miss Chavez is working for me now.  She's working for you now? asks Q.  Yes, says Petofi, and coming to me was the wisest decision she ever made--send word to Barnabas--persuade him to meet you here--when he comes, warn him that Edward is still determined to capture him--it's not far from the truth--I'm sure Edward would like nothing better than to capture Barnabas--but he will have to remain frustrated--"Barnabas Collins is mine!"

Charles continues to drink, growing more mellow and effusive in Tim's company.  Tate notices Tim isn't drinking.  You know what I see behind your face? asks Charles--someone who wants to be more than my friend.I am your friend, says Tim, continue with your story--what happened after you drew the vase?  Tate laughs drunkenly--no, he says, I won't tell you anything more--you know everything that happened, and you'd better not tell anybody, he warns, slamming his fist into the table.  Of course not, Tim assures him.  And don't tell anybody about Amanda, either, adds Charles--she might get hurt if you do.  Do you think I'd do anything to hurt Amanda? asks Tim.  I'm not sure what you'd do, says Tate, but if you do tell anyone, I'll kill you!  He points his gun at Tim to underline his threat.

Petofi notices with interest that Barnabas' portrait is gone from the wall in the foyer.  Edward had it taken down, says Quentin, after his experience with Barnabas.  Good, says Petofi, I've worked carefully to isolate Barnabas Collins--that is why Julia must not be allowed to interfere with my plans, and why you must find out everything I want to know.  Quentin looks miserable at having to kowtow to this creature.

Tim sits in his hotel room, playing with a pencil.  Someone knocks at his door.  He laughs, not answering the insistent knocking, but finally opens it--it's Petofi, who says, I received a note telling me to come here.  Tim admits to sending it.  People generally come to see me, says Petofi--I was amused by your presumption, so here I am--was it really necessary to keep me waiting?--what are you trying to prove?  I want to discuss the beginnings of a business deal with you, he explains.  You and I, a partnership? asks Petofi--what do you have to offer me?--I can't think of a thing?  How about an army? asks Tim, of innumerable, invincible soldiers--does that interest you?  Petofi grins.  With that, says Tim, you could control the entire world.  What is all this talk of armies? asks Petofi.  Then you are interested in a partnership? Asks Tim?  Presume nothing, tell me what you have to say, demands Petofi  It has to do with Charles Tate, reveals Tim.  Petofi is startled.  Tim says yes, I know of your "arrangement" with him--he told me, and I know things you don't know--the man can create human beings!  Charles told you that? queries Petofi--and you believed him?--poor Charles.  No delusion, says Tim--with pad and ink, he can create a man out of nothing--I saw it myself.  He created such a human being? Asks Petofi.  Yes, says Tim, but that particular one is gone.  Petofi doesn't believe it.  I can prove that Tate can manufacture persons, says Tim--any kind of person you should desire--I swear to that.  Petofi exhibits a "certain element" of interest--it's a pity the man Charles created is gone, a pity, but there is still Amanda.  What about her? asks Tim.  If you believe Tate possesses this ability, you have to admit his most beautiful creation is Amanda Harris, says Petofi.  Tim ponders that one.

Quentin's room - Why did you ask me to stop by? Barnabas pointedly asks Quentin.  I'm worried about you, says Quentin.  I'm managing, Barn assures him.  Surely there's something I can do to help, asks Quentin.  For the moment, says Barnabas, Julia is providing all the help I need.  I have the feeling you don't trust me, says Quentin.  I do, Barnabas quietly assures, but in my position, I must be careful.  With me? asks Q.  With everyone, says Barnabas.  I understand, says Q, but "everyone" didn't free you when Edward held you prisoner--you can forget many things if you want, but you can't forget the fact that we had each other for friends when there was no one else to rely on!  Barnabas apologizes--my fugitive existence has made me far too suspicious, he confesses.You should be, says Q, Petofi is a dangerous enemy--he's still very determined to deal with Julia, as Edward is to deal with you--he has a new plan of action, but I don't know any of the details yet.  Let me know when you find out, says Barnabas.  Of course, promises Q, then asks, do you and Julia have any plans--you should keep moving, not wait around to be destroyed.  Where? asks Barn.  Back to your own time, suggests Q.  I must go now, says Barnabas--I have a feeling evil forces are at large tonight--thank you for your concern--we'll see each other again, very soon.  Barnabas leaves.  Quentin looks at his portrait--did I find out enough to satisfy Petofi?  "I doubt it--you don't even make a good traitor," says Q bitterly, and covers the painting back up again.

A gloved hand caresses the door knocker at Collinwood.  We see an exquisite woman, dressed completely in black, smiling.  (KLS is back, looking stunning!)  All right, Kitty, she tells herself, you're at Collinwood--go ahead and knock--nobody is going to suspect a thing.  Quentin answers The door and invites her in immediately.  Who in this place would know a pretty thing like you? he asks.  I'm looking for Edward, she says. He's away until tomorrow, he says--might I be of service--I'm Edward's brother.  Quentin or Carl? she asks.  Quentin--Carl is dead, he says sadly.  She apologizes.  You know a great deal about the family, says Q. I do, she says, and was hoping I might visit, but with Edward away...   I can arrange a room for you, says Q, whoever you are (any port in a storm)?  She laughs.  I'm Lady Kitty Hampshire, she says--Edward was a very dear friend of my husband's, and I hope, a very dear friend of mine, too.  Quentin notices the mention of her husband in the past tense.  Poor Gerald is dead, says Kitty--after his death, I felt such a stranger in England, and terribly lonely--I'm an American, so I decided to come home--yes, she says, looking possessively around Collinwood, "I decided to come home."

It isn't sufficient to know that Barnabas Collins has no immediate plans to return to the future, Petofi tells Quentin.  "He wouldn't tell anything else!" says Q--he was very nervous, but I will find out more.  And I must patiently wait while Barnabas fobs you off with excuses? demands Petofi.  You'll have to wait, insists Q.  No, his enemy may be closer than he thinks, says Petofi--I've decided--Barnabas must die--when he does, Julia Hoffman will turn to you because there will be no one else--then I can find out how to get to the future--Julia will talk when Barnabas is dead (I tend to think she'd clam up).  Petofi helps himself to a drink.  How do you intend to kill Barnabas? asks Q.  I'm not going to, dear boy, says Petofi--you are!  Oh, no, says Q, I'm not!  Petofi asks--are you beginning to doubt my powers?  No, just pushed them a bit far, says Q.  How quickly men forget, says Petofi. He drains his drink, breaks the glass and slashes Quentin's face with the shard.  Quentin cries out in pain, holding his face, but there's no blood!Petofi uncovers the portrait and shows him that there's a bleeding, gaping wound on the face in the portrait.  "This could be you!" cries Petofi--do you doubt my powers now?  Quentin stares, shocked, horrified, and answers, "No."  "Barnabas Collins must die," insists Petofi--"I expect results."  And he goes, leaving Quentin staring at his portrait, holding his unmarked face.  (Powerful, itensely creepy scene!)

Kitty comes out of the drawing room and runs into Petofi.  "YOU!" she cries, looking at him with hatred.  How pleasant to see you! he exults. You can't be here! she says.  But as you see, my dear, I am, he says.  What are you doing here? she demands--but I don't need to ask that, do I?   I've become involved with several member of the Collins family, he says.  Then I pity them, she retorts.  I was sorry to hear of your husband's sudden death, says Petofi.  "What choice did you leave him?" she rants--"Public disgrace or death!"  Your obsession with my supposed crimes has become rather boring, says Petofi--don't pursue it further.  Have you met all the Collins men? he asks, Edward...  I find this hallway stifling, says Kitty through clenched teeth--I need some clean, fresh air.  And she walks out on him.

Barnabas, out in the woods, hides when he hears Kitty coming.  She spots him, however.  I've gotten lost, she says--can you help me?   She smiles at him.  Do you live at Collinwood? She asks--I guess that a strange question, considering I just came from there.  He stares at her, amazed.  (Josette Clone Alert!!!!)  Are you staying at Collinwood? he asks.  Yes, she says flirtatiously.  Are you a friend of the Collins family, asks Kitty--why are you staring at me?  He apologizes for staring, but admits, "You're very beautiful."Kitty likes that answer, and thanks him very much.  Who are you? he asks.  No, I won't tell you--now, she says saucily--walk me back to Collinwood.  I can't tonight, says Barnabas, dying to do as she asks--follow the path, it will lead you to the house.  Yes, of course, she says, her manner icy--"Good night."  He stops her.  Are you staying at Collinwood long? he asks.  My plans are vague, she reveals, I don't know--I may be leaving by tomorrow.  She leaves him.  No, you cannot go, says Barnabas to himself, now that I've found you again--"Josette!"

Quentin, still holding the flawless side of his face that Petofi slashed, comes downstairs.  Kitty returns.  She looks at the wall where Barnabas' portrait was, and asks, why was it moved?  How did you know that? demands Quentin, do you know Barnabas?  What a strange question, of course I do, she says.  How do you know him? asks Q.  "How do I know whom?" Kitty says--"I don't know anybody named Barnabas."  "You just said you did," says Quentin, you asked why the portrait had been removed.  Kitty haughtily says, I know no one named Barnabas or of any portrait.  Suddenly, however, Kitty begins getting flashes of Barnabas' portrait...

NOTE:  Love the new character being portrayed by KLS.  She's got many layers, and a big surprise in store.  Once again, Barnabas is going for the clone, to the intense unhappiness of Julia fans.  Petofi's demonstration with the glass proved to Quentin that he's the man, and Q had better do as he bids him to--even if the order is as tall as killing his own cousin.

The side trip into Tate's talent for reproducing people and objects kind of bored me.  Nicholas Blair would have loved the concept of a superhuman group of soldiers dedicated to working for Satan.  Kitty has ulterior motives, of course, that's obvious from the start (Josette flashbacks?), but meeting Barnabas has already done something weird to her, and it's only gonna get worse.

Beth and Petofi, now there's a crazy pair!  Is she really with him, or just pretending to be?

Barnabas is wise not to overly trust Quentin, but that's going to change, unfortunately.  We're very close to an episode that will shock first time watchers.


845 - Quentin paces his room, wondering, can I kill Barnabas--how, after all he's tried to do for me?  He gazes at his portrait, touches his face where Petofi cut him.  He looks sickened.  But it's an order, he muses, what right does Petofi have to give me orders?  What difference does that make, I'm too terrified to disobey him, he can't let him turn me back to what I was.  "Barnabas MUST die," Quentin says aloud.

Rectory - Barnabas calls to Julia.  She comes in, doctor's bag in hand.  You were late, she says, I was worried, you shouldn't take chances with everyone hunting for him.  "If I hadn't been out tonight..." he says.  Has something happened tonight? she asks.  Barnabas looks like a man in a happy dream.  Yes, he says, something incredible, that will make it imperative to change all our plans--I've met Josette again, she's come back to me.  This stuns Julia--Josette died 100 years ago, she says.I've just seen her, he insists.  Trying to change the subject, Julia says, get ready for your injection.  It IS Josette, he says, it's as if I were back in time again.  Did she recognize you? asks Julia.  No, says Barnabas reluctantly.  Good, because the last time she saw you, she committed suicide because of you, Julia reminds him (ZING!)  Because of what I had become, says Barnabas--we must change our plans.  We will NOT, she says defiantly.  I can't go through with them now, he objects.  You MUST, Julia says.  The injections, yes, says Barn, it's vital I can move around during the day (Julia gives him the shot), and be accepted at Collinwood, but the other plan is impossible.  YOU made that plan, says Julia it accomplishes everything you want, (Barnabas rolls down his sleeves), you cannot change it now.  But I must--I have no idea how long she'll be here, he says.  Would you really rather lose everything? asks Julia.  I won't, insists Barn.  When I begged you to go back to the future, says Julia you told me the future of the Collinses rested on your defeating Petofi.  I'll handle him in another way than what we planned, in such a way that I'll be allowed to see Josette--I can't chance losing her again!

Quentin looks at his portrait, shaking his head, angry with himself.  He notices the scar on the face in the portrait, a souvenir of Petofi's attack.  Someone knocks--Barnabas.  Quentin asks if something is wrong.  For once, not wrong, says Barn, eyes alight--something that changes my whole life, gives me a new reason to live and look forward to the future.  Uh oh, says Quentin's guilty face.  He looks away; Barnabas notices.  Help me, begs Barnabas--will you help me?  Quentin looks like he wishes he were somewhere, anywhere, else.

How can I help you? Quentin asks.  Your houseguest, Lady Hampshire?--she's married to Gerald Soames, answers Quentin, but her husband is dead--she landed in Boston and decided to come to Collinwood--she wanted to see Edward.  She was drawn to me, says Barnabas like a lovesick schoolboy--the reincarnation of the one woman I've ever loved--my Josette.  That's very odd, remarks Quentin--your saying that after what she did tonight--she was walking the grounds, came to the house, looked around the room, and asked where your portrait was--Edward took it down days ago. . .she had never been to Collinwood before, how did she know the portrait had ever hung there?  Because is was hanging there in 1796 when she lived, says Barn--I was right!--go to her tomorrow and tell her I want to see her--don't mention my name, I don't want her to know what I am.  She's bound to find out about you, warns Quentin.  I'll use another name, says Barnabas--tell her the man she met in the forest wants to see her again--I'm sure she will come to me.  You're taking a big chance, says Q.  You must do this for me, says Barnabas.  All right, Q agrees, I'll try to arrange a meeting--how shall I contact you; where will you be at dusk tomorrow?  Quentin clutches at an ugly looking piece of statuary and hastily says, no, don't tell me, I don't want to Know--I'll leave word with Julia where you are to come.  No, says Barn, I don't want Julia knowing about this (secrets will be the death of you, B!)--come to my hiding place, continues Barnabas--in a cave, beneath the cliffs below Widows' Hill.  Quentin tries to stop him from revealing all this, but it's out.  Can you find it? asks Barnabas anxiously.  Quentin nods miserably."Then I will look for you at dusk," says Barnabas--"Thank you, Quentin, thank you very much."  Don't thank me, Barnabas, asks Quentin, then blurts out, "You must leave Collinwood--tonight!  Please!  You've got to leave Collinwood before you get caught, before...before something happens to you!"  No, says Barnabas, nothing will make me leave Collinwood now--nothing.  They look at each other.  Quentin's face furrows with unhappiness.  "You're very kind to worry about me, Quentin," says Barnabas, "but don't--I'll take care of myself."  Quentin doesn't reply, causing Barnabas to give him an odd look before departing.  "JUDAS!" Quentin accuses himself.  "JUDAS!!"

Julia knocks at the door of Collinwood.  Quentin, drink in hand, answers and invites her in.  You're taking quite a risk, he remarks.  Was Barnabas here?--is he gone? she asks.  Yes, answers Q.  And Edward? she adds.  He's in Bangor, says Q, and very curious about you, so you're lucky.  They enter the drawing room; he closes and locks the door.  I didn't feel like staying at the rectory, says Julia, I don't know why Barnabas wanted to see you. . .that's not true, I do know, whatever he wanted had something to do with your houseguest--I hope you will be frank with me.  "In other words, you want me to tell you exactly what he said," says Q, smiling slightly.  It's very important, says Julia--Barnabas must not change his plans.  "What are his plans, Dr. Hoffman?" asks Q.  She turns away, not replying.  I can't tell you, she says.  You want me to spill everything, says Quentin teasingly, but you're going to tell me nothing--there seems to be something basically unfair about that.  All right, don't tell me, says Julia, I have heard enough about it from Barnabas to guess--"I've been through this with him before, you know," she says resignedly--"He'll never forget Josette, he will ALWAYS be hunting for her."  Persuade him to go back to the future, suggests Quentin--tonight, find him and make him."  I tried, he refused, says Julia--you should know, you're part of his reason.  Make him forget about me, insists Quentin.  He won't forget about you or the family, says Julia--there's another solution--have the houseguest leave.  She came to see Edward, who hasn't been here yet, says Quentin.  Have her go to Bangor, meet him, suggests Julia.  You're being unreasonable, says Quentin.  It sounds that way, agrees Julia--"but I don't want anything to happen to Barnabas Collins--do YOU?"  Quentin's eyes widen with guilt.  No, I don't, he says.  Then try, asks Julia, warn her that if she stays here there will be tragedy for her.Quentin agrees to try to think of something--you must go, Julia.  Barnabas may come looking for you, she says--please don't tell him I was here, and try to do something.  She leaves.  Quentin recalls her words--"I don't want anything to happen to Barnabas Collins--do YOU?"  The last two words echo in his head, tormenting him.  DO YOU??  He covers his ears and his eyes roll in his head, as if he's in agony.

Quentin drinks.  Charity leans down into his line of vision, reminding him, you were supposed to come see me at the Blue Whale.  (When did she come back?)  I couldn't, he says drunkenly.  Yes, you had big business here, she agrees--with this.  She flicks his brandy glass.  "You treat me rotten, Quentin, I sang all my songs for you tonight, just for you, hoping you'd come through the door!"  I'm sorry, he says.  I sang and sang, she pouts, and never better.  She sings "I'm gonna dance for you."  Irritated, he asks, why did you come here tonight?  To see you, she says.  There's very little to see, he assures her.  She puts her head on his shoulder and says, I don't agree with you.  It's the truth, he says, there's nothing inside the skin, not even a heart, so don't look for it.  You're awful to talk to me like that, complains Charity, with me trying to be nice and sociable to you and all--you aren't the gentleman Carl was, Lord rest his soul.  And where did it get Carl to be a gentleman? asks Q--in the cold, cold ground.  Don't you say it or think it, she commands angrily--I've been depressed all evening, trying not to remember--Quentin, she asks, do you know what happened 3 months ago tonight?  My memory of the past is as dim as my chances for the future, he says morosely.  How could you forget? she asks, Carl died--how could you forget that?  I'm unfeeling, he says, but not as unfeeling as I'd like to be--and he takes another sip of his drink.  She tries to take the glass from him--you've had enough, she says.  No, never, he insists, moving away from her--drink to Carl, he shouts.  Oh, no, you're insulting his memory, says a furious Charity.  He stretches out on the sofa, drink in hand.  There's so much evil, says Q, he's better off where he is now!  It's thinking like that that's the reason the vampire is still on the loose, insists Charity--if people would change their thinking, the vampire would be caught now, like he ought to be!  Do you think the vampire should be caught? queries Quentin.  Are you serious? asks Charity.  I can't remember all the reasons why we should get rid of the vampire, says Quentin.  He's a murderer! she cries--he killed Carl, and all those other attacks, before I came to town.  Yes, says Q, there were.  Oh, you remember now? she asks.  Yes, I do, he says--Charity, if you had the chance to kill the vampire, would you?  You bet I would, she says vehemently, then my poor Carl could rest in peace.  If you knew where to find him at dawn, his hiding place...? says Q.  Hey, says Charity, you know where he is!  No, says Q, shaking his head.  Then why are you talking that way? she asks.  I was just talking, says Q, rising from the sofa and putting down his glass.  You sure sound like you know, opines Charity.  Well, I don't, says Quentin, if I did, I'd go to the police.  I get these feelings something, she says, and you know more than you're telling me.  No, says Quentin, I don't, I think you'd better go back to town, it's getting late.  I couldn't sleep tonight, she says, not thinking about Carl.  He looks at her and asks,  "You did love him?"  And he loved me, she says sadly--I guess nobody ever had before--soon it will be dawn.  She sees his face change and asks, what's the matter?  Nothing he says, go home--go home.  You're afraid of the dawn, like me, she says, it means a new day starting, except for people like us, who never get new days--we just go on, reliving the old ones... (this was a sad scene).  Why are you staying up? she asks--why?  Go home, please, he demands, pushing her away.  She looks at him oddly, then drifts toward the door.  Quentin stares out the window.

Dawn - Quentin creeps into the cave, stake and hammer ready.  He puts down his weapons, approaches the coffin, opens it, gazes at the sleeping Barnabas inside.  He takes the stake and hammer into his hands, places the stake's point against Barnabas' heart, and prepares to strike.  His face shaking, he sends both weapons clattering to the cave floor, then closes Barnabas' coffin and says, "You faced whatever you had to, and I will, too!"  He leaves the cave.

Someone else enters the cave, however--Charity.  She places her hands on Barnabas' coffin, opens it, sees the vampire resting inside.  Her face takes on a look of angry determination.  She finds the discarded stake and hammer on the floor (good going, Quentin, leaving them there) and places the stake against Barnabas' heart.  Her fury over Carl's death (which was Q's fault, too), compels her to do the job Quentin couldn't.  Delight on her face, grunting happily with every stroke of the hammer, she pounds the stake into Barnabas' heart.  We hear him cry out in agony as the sharp stake finds its mark, blood from his chest welling up around it.We see Barnabas, blood running from his mouth, dead.

NOTES:  Thus began a full month of misery for Barnabas lovers, because that's how long Jonathan Frid left the show back in 1969.  It was a tough four weeks for me, and I don't even like the two-week Barnabas hiatus we get now, with two eps per day!

Selby turned in such an amazing performance in this episode, riveting!  I gather Charity is living in town now, and while she had plenty of reason to want to destroy Barnabas, I always wished Quentin hadn't left his tools of destruction behind like that.   The scenes between Quentin and Charity set the scene for the end of this episode.  She hated the vampire for murdering Carl, and this was her revenge.

The ABC switchboard lit up like crazy at the end of this ep, with many calling in to find out what the hell was going on--was Barnabas really dead?  Since I had no inkling of this, I was wondering the very same thing, but was sure that it couldn't be what it appeared to be!  That was surely one of DS' most bloody, upsetting scenes, too.

Love, Robin

840 - At the mill, Julia faces an enemy she has never seen before this night.  Petofi holds out his ugly hand, telling Julia, who is seated in a chair--this is the source of my power.  He introduces himself, and we learn that Aristede "so kindly" brought her to the mill.  I know who you are, says Julia.  My fame has preceded me, Dr. Hoffman, says Petofi.  What do you want? she asks.  I find you direct, remarks Petofi--are all women in your time are like that?--I'm fascinated by the future, but find it forbidding, considering everyone who's been there seems so reluctant to talk about it--why?--I can force you to tell me, he warns--I dislike using force on such short acquaintance, but will if I must--before this night is over, I intend to see what you so recently have seen--the glories of Collinwood in another time--I intend to leave this lamentable year tonight, and you will help him!  Julia's forehead creases.

I don't know why you think I can tell you how to get anywhere, says Julia.  Must I go through all this? he asks.  I'm a stranger here, she says.  You've memorized your story very well, he says--why is your hair is so short?--is it the fashion in 1969, or did you recently have a fever and get it cut off?  I don't need to tell you any of my story, she insists.  I already know it, says Petofi--you were found on the steps at Collinwood wearing a ridiculously short skirt, taken in a state of shock to the old rectory, where you were assisted by Barnabas and Quentin Collins.  Quentin told you, Julia realizes.  Quentin is a graceless liar, says Petofi--no, Dr. Hoffman, I don't rely on humans for information, which is why you will find it impossible to lie to me--you will help me!  I can't, she says.  We shall see, he promises, holding his hand close to her face, then retreating--I'm afraid we can't finish our conversation, someone is coming.  She rises anxiously from the chair.  "Not Barnabas Collins," says Petofi--don't be frightened, he tells her, putting his hand on her throat, when you find yourself unable to speak; I'll let you again when I want you to.  Julia struggles, grunting, but when he removes his hand, she can't speak.  He puts her in the same room that was Barnabas' prison for a while, saying he'll make sure she's comfortable.  Tate comes in, calling to Petofi--do you know that when I draw something that doesn't exist, it comes into being?--I've got to find out if you know!  Petofi joins him--you must stop your impromptu visits, he insists.  Why are you locking the door behind you? asks Tate.  It's none of your business, says Petofi.  I came to talk about myself, says Tate--what I was before we met each other.  You were a decidedly mediocre painter, answers Petofi.  You said the first time I met you, all he had to do was be loyal.  I never allowed you to be disloyal, says Petofi.  You let me discover the talent I had, somehow, says Tate.  I somehow supplied the talent that was lacking, counters Petofi. (ouch!)  Did you give me any other talents? asks Tate.  No, I thought one was enough, laughs Petofi--what is all this?  You don't know? Charles asks--about Amanda Harris?  We aren't discussing romantic nonsense, says Petofi--whatever mad, coincidental relationship there might be between your portrait and this girl, I am not interested--amused, perhaps, but your romantic life doesn't interest me.  Don't you want to KNOW? demands Tate.  What could be new about falling in love? asks Petofi--go home, Charles, please, go home and dream about Amanda Harris!  He laughs at Tate.

In Collinwood's drawing room, Quentin and Amanda are kissing passionately.  Catching her breath, she draws back as if someone has come into the room.  Why do you stay here? he demands--what's this game you're playing--the fallen woman in search of truth?  I didn't say it was that, says Amanda.  I wouldn't believe you if you had, says Q--you are here for a reason.  No, she protests.  Look at me, he commands.  She does.  I think you're quite capable of taking care of yourself, he says, strong enough without Trask's prayers.  Do you want me to leave this house? she asks.  No, of course not, he says gently--I just doesn't want you to get mixed up with Trask--perhaps you aren't aware of the way he looks at you, but I do.  He moves in closer and asks, what are you doing here?  I can't explain it to you, she says, because it started before I knew you--it made sense to me then, but I'm not sure it does now--please let me figure it out in my own way.  All right, he agrees, if you meet me tomorrow night after dinner, away from Trask's prying--in the garden?  I'll try, she promises.  He takes her hand in both of his and says, "No, none of that."  He kisses her fingers, asking, "Do you want to come?" (No, I won't touch that line with a 10-foot pole!)She smiles, big, then says, "Yes, I want to come."  Then you will, says Quentin.  There's a knock at the door, interrupting them.  "That's what I mean," he says--"I'm not going to hide the fact that we're together!"  He answers the door.  It's Tate.  Quentin greets him, remarking, it's an odd hour to call.  I was near the house, says Tate.  And curious to see who was up? asks Q.  No, I saw a light, says Tate nervously, and thought Miss Harris might be--I must speak to her, it's very important.  I didn't even know you knew each other well enough for anything to be important, says Quentin.  Trask has asked me to paint Amanda's portrait, says Charles.  It's an ideal time to discuss it, says Q jealously--what's so important, the color of her gown?  Leave us, Amanda asks Quentin.  I don't have any other choice, says Q.  He kisses her hand, bids her good night, and leaves.  I must talk to her, insists Charles--I know EVERYTHING--because I know why you can't remember anything before March 11, 1895!

Amanda pays close attention--you know about me?--tell me, please!  It won't be easy, he warns--last time I was here, you told me about your memory gap--the date meant something to me, too, so I went back to my studio and found a painting I did March 11, 1895--the date was right on the painting...  What has that to do with me? she asks.  That painting was of you, he says.  You didn't know me, says Amanda--perhaps just someone who resembled me.  No, he says, it was a face of a woman I wanted to create.  He touches her face.  The face I wanted to see--your face.  She doesn't get it.  When I painted you, says Tate, you came into being.  "You're mad!" she cries.  Look at me, he says--do I look mad?  If you're not, it's the most romantic bit of nonsense I've ever heard in my life! She cries.I can prove it, insists Tate--that night, I returned to the studio, unable to get you out of my mind--there's something I do when I want to forget something--I did a still life--when it was almost finished, I felt it was missing something to balance it, and I dreamed up a vase and sketched it--when I sketched it, that vase appeared on the table!  Tate's become very excited as he explains this.  You were hallucinating, says Amanda.  He pushes some books off a table--there's nothing on it, he says--I'm going to sketch a glass on that table.  He takes out a writing tablet and begins to scribble.  You need help, she says, you're obviously overworked.  Look at the table, he says, feverishly drawing a glass--describe the glass that's on the table!  There is no glass, she says.  He looks up--she's right.  NO! he yells, banging a fist on the table, showing Amanda the sketch--I DID sketch it!  She tries to leave.  I don't want to hear anymore about this, says Amanda.  Tate grabs her--come to my studio, he insists, you must see the portrait I painted--and the brooch!  Tate has noticed the brooch she's wearing and grown even more crazed.  She refuses to go to his studio.  Tate tries to forcibly take her.  She pulls away and runs upstairs, running into Quentin, who tries to stop her.  "Let go of me!" she wails, and dashes upstairs.  Quentin runs to Tate.  What did you do to her? he demands.  What I did to her started the day I met Count Petofi, says Charles, calmer but still very upset.  You're talking in circles, says Quentin.  No I'm not, says Tate--you'll understand, soon enough.  I don't think so, opines Quentin.  Yes, you will, predicts Charles, you've dealt with Petofi before--soon you're going to be doing things you won't understand yourself!  Quentin looks back at the artist, his face solemn, as if saying, believe me, I already know!

Abandoned mill - Petofi restores Julia's voice--you can speak now, he says.  She shakes her head, remaining silent.  "A woman who won't talk?" asks Petofi--perhaps you would like a further demonstration of my powers?--I knows how difficult it is to convince a stranger of my determination, but I have a sentence upon me, enemies I cannot fight, that I must escape--how did you transcend time?--how did Barnabas Collins?--what is the method you used?--I must know it now!  Julia remains tight-lipped and silent.  Do you want me to pass my hand over your face? he asks--Julia?  Her face twitches.  Then bring you a mirror? Adds Petofi--would you like not to recognize yourself?--I can cast a spell on you. . .   No, she mutters, no, as his hand comes closer.  She backs off, finally pushing his hand away and confessing, "I-Ching!"--that's how we came here, she admits.  Petofi smiles.

Quentin, in his room, drink in hand, looks at himself in the mirror, then at his portrait.  Petofi enters, asking, are you admiring yourself?--I want a small favor.  I don't really want to oblige you, says Quentin.  I want your I-Ching wands, says Petofi--I suspect you know Barnabas used them to get here--did you lie to me about it?--I'll mind it very much if you did.  I guessed last night, says Quentin--they're in the Old House basement, where Barnabas was when Edward locked him up--there you are, says Q through clenched teeth, you have your favor.  For the moment, at least, says Petofi.  It's the last favor, swears Quentin, we are finished, through, done!--you can take this portrait and get out, and I don't care what you do with it--I don't want to see you ever again!  You're a petulant little boy, accuses Petofi.  I'm a man who has betrayed a friend, cries Quentin, and allowed you to kidnap a woman who did nothing to you!  A conscience can be a very troublesome thing, says Petofi--shall I rid you of yours?  Get out or kill me! shouts Quentin, because I don't want to spend the rest of my days doing you favors.  "My dear boy," says Petofi, "you haven't even started."Quentin looks at him, aghast, and asks, is there nothing I can do to get rid of you?  No, says Petofi.  Then I'll have to kill you, says Q.  You could try, says Petofi, there would be punishment for that, too, an unexpected relapse when you least expected it--no, Quentin, the full moon isn't necessary--it could happen anytime--I have many powers.  You won't control me, retorts Quentin.  I DO control you, says Petofi--we shall meet again, whatever happens tonight, we will meet again--"You are a slave, Quentin,"--you didn't used to be, but you are now--I, on the other hand, am always a master.  Petofi leaves, laughing uproariously.  As Quentin drinks, he remembers what Charles told him about Petofi--you'll soon be doing things you can't explain, even to yourself.  The words repeat, over and over, in his mind.  No, no! cries Quentin, covering his ears to blot it out.

Mill - Petofi holds the I-Ching wands.  Have you told me everything? he asks Julia.  Yes, she says, everything I know.  I shall feel quite at home in the unknown, he says, a man who has lived as long as I have doesn't have very much fear--I throw the wands on the table?  Yes, she says.  He does.  Now place them parallel, she says.  How like the Chinese, he remarks, to make something so complex on a simple set of wands.  They will form one of 64 hexagrams, she says.  Which is this one? he asks.  She checks the book--the third, the kune (?) hexagram.  What does it signify? he asks.  Great progress and success, she reads.  Petofi is pleased.  She reads--the kune shows how a plant struggles with difficulty out of the earth, gradually rising above the surface.  Quite perfect, says Petofi.  But the top line is divided, adds Julia--the horses of the chariot are obliged to retreat, there are weeping tears of blood.  Infuriated, Petofi grabs the book from her hand--I will hear no more, I want to begin! He insists--if there is any bloodshed tonight, it will be yours; Aristede stands guard outside the door, and one move from you, and he'll kill you.  Julia understands.  Sit down, she instructs--begin to concentrate on the hexagram--look for the door with the hexagram on it--the door will open and your astral body will journey through it.Yes, into another time, says Petofi, I will make it happen!  Julia leans down--what's happening? she asks.  I can hear you, he says, sounding as if in a trance.  He sees the wands on the door, the image spins round and round.  I see the hexagram, he says, and the door, and beyond it lies the future.  He goes to the door, which opens.  He walks through; it closes behind him.  He sees a hand clasping the Golden Scimitar--it's hacking down threateningly, as if to take back his hand!  Petofi leans against the door, terrified.

NOTES:  Ha, ha, Petofi, you didn't get the 64th hexagram, so who could say for sure if you would end up in the future?  Serves you right for messing with Julia.  It's so good to see you don't have control over everything!  Nyah, nyah!

Excellent acting by Selby.  Watching his conscience kick in because he had to betray Barnabas was really something special, and his scenes with Petofi a delight to watch.

I don't care about Tate and Amanda, although his power to create things and people would be great to have.  Why didn't the glass appear when he drew it?  Does it have to be done in his studio to work?

Seems like Quentin and Amanda have already gotten their romance off the ground.  Poor Beth, discarded that way.  Can't really blame her for trying to kill him; he took her virginity, got engaged to Angelique and is now dallying with another.  Beth knew what Quentin was, so her assumption that they would marry was foolhardy.  Even if Angelique weren't in the picture, Beth had already been drawn out once he began his affair with Amanda.

Great seeing Julia again, and how easily Barnabas talked her into his scheme--he knows she will be able to cure him with substitutes, and be-damned the side effects of ancient medicine!  LOL!  The woman's in love, she knows what Barnabas wants to do is crazy, but she goes along.  You've got to love her loyalty in the face of the headstrong Barnabas' insistence that she do the impossible.

Why does Tate feel obligated to tell Amanda she was "born" from his paintbrush?  What does he expect to accomplish, except to upset her?  Even if she bought his wild story, does she really want to believe she has no life, was never born before he dreamed her up?


841 - Petofi looks at the sword, terrified--whoever you are, he says, you aren't empowered to destroy me--you're aiming for my throat when you should be going for my hand!  Begone and take that wretched thing with you! he orders.  It retreats.  We see the wands swirling around.  Gypsy swine, calls Petofi--scum of the earth, I must find a way, dark, everything dark!  His head falls to his chest.  Julia takes this opportunity to sneak away, but runs into Aristede on the stairs.  Is everyone in your time so foolish? He asks--you knew I was outside.  She backs away from him.  How did you expect to get past the door? He asks.  I don't want to be here, she says.  Sure, but neither does the Count, nor do I himself, says Aristede, but we have no choice until we master your secret, do we, Doctor?  Julia looks away, unnerved.  Do we? he repeats.  There is no secret, insists Julia.  Petofi and I don't believe you, says Aristede, who checks his master and is alarmed to find him barely breathing.  I have done nothing to him, says Julia, he's in the deepest part of the trance.  You aren't a doctor, accuses Aristede--I think you're trying to kill him.  Why are you so frightened? asks Julia--are you afraid Petofi isn't as immortal as you believed?  Angry, Aristede lifts her up--answer my question, he demands--who or what are you?  I told you the truth, she says--Petofi is beyond the door, which he knew when he started.  If something tragic should occur, DOCTOR, warns Aristede, you might as well expect to be as good as dead!  He shoves her away from him and returns to Petofi, who seems to be in a coma-like sleep.  The wands swirl...around again; we see the metal door swing open once more.  Petofi stands before a curtain; we hear the sound of religious chanting.  He's in a vast place, candles all over.  He looks at items on a table, and one is the box that contained his hand.  He opens it and closes it.  A gypsy tribunal, he realizes, and it's me they are coming for!He opens double doors and faces down a huge image of Barnabas, fangs bared at him.  Quickly, he closes the door and opens another to find flames.  (shades of the Dream Curse!)  He sees the wands on the far wall and hurries from them, lifting his hand, then wrapping it around his own throat--he's strangling himself!  Julia and Aristede hear Petofi choking.  He seems to be having a stroke! cries Aristede--do something, Doctor! he begs Julia.  Petofi comes out of it on his own.  Can you hear me? asks Aristede.  Petofi breathes heavily, reaching for his own throat with his hand.  He begins strangling himself, choking, and falls to the sofa, his hand clutched fast in a death grip to his own throat!

Aristede tries to pull Petofi's hand from his throat and finally succeeds.  Check him, Aristede orders Julia.  He's alive, Julia assures him.  Revive him at once, says Aristede.  Julia nervously suggests, let him stay this way for a while.  Revive him, Aristede insists--I want to know what happened and who is responsible!

Barnabas stands in the woods.  We hear the susurrus of ocean waves.  Beth leaves the house with some clothing.  He watches, hides as she passes by, then calls out to her.  She turns, startled, and asks what he wants.  I was on my way to the Old House to look for you, he explains, I need your help.  What for? she asks--have to go to the village to see Mrs. Fillmore, I have some things to bring to the child.  It's extremely important, he pleads, someone's life is involved.  I'm very tired of being involved in other people's lives, says Beth.  Barnabas gently apologizes--I'm sorry for what happened between you and Quentin.  It's over now, she says, tight-lipped, proud--I don't want to speak of it.  Help me this one time, begs Barnabas.  Why ask? she says, force me, you've imposed your will on me before.  I never meant to hurt you, he says.  No, neither did Quentin, she says bitterly.  You may go if you wish, says Barnabas, I won't stop you.  Get Magda or Quentin to help you, she says.  I can't find Magda, says Barnabas (ask Grayson Hall!), and I have reason to believe Quentin can't be trusted right now.  Beth thinks it over--what do you want me to do? she asks.  I'm almost certain my friend has been abducted by Petofi, says Barnabas.  This shocks Beth.  Go there, asks Barnabas--find out if Julia's all right, where she is being kept-- then come back and tell me.  I'm terrified of that man! objects Beth.  This friend is very important to me, pleads Barnabas (go, Julia!) and I can't go to Petofi because he has me marked for death--confirm my suspicions--you can do that without being seen--will you, Beth?She looks like she's going to cry, but agrees--I'll try.

Aristede hands Petofi his glasses--are you all right? the servant asks his master.  Petofi sits down and brushes the wands off the table.  Incensed, he turns to Julia.  Are you a player of games? He asks accuses.  I don't understand, says Julia.  You tried to trick me, says Petofi, have been lying from the beginning--perhaps this isn't the way you transcended time.  It IS the way, she assures him.  You could hardly use it without a thorough knowledge of it, could you? he asks.    No, she says.  Tell Aristede what happened when I opened the door, demands Petofi.  I have no way of knowing that! says Julia.  What was it, Excellency? asks Aristede.  You don't know what I encountered beyond the door? Petofi asks Julia.  It was your experience, not mine! She cries.  I did it under your supervision, you were in control! He says.  No, YOU were, corrects Julia--you threw the wands!  Why didn't I go to the future? Petofi shouts, and instead found myself at a Natotsy tribunal?  I don't know who they are, she replies.  Aristede knows, and is shocked.  They are the most ferocious band of gypsies the world has ever known, explains Petofi--their name means men of the woods, but wild beast would be more like it--no, Doctor, he says, you can stop pretending--we can play games, too, and you'll find them most unpleasant.  I am aware of your power and how dangerous you can be, she says--I'm not tricking you.  My patience is waning, he says--I'll give you one last chance to tell me everything you know about the I-Ching and how it can take me to the future, but before you answer, look at Aristede--why do you think I employ him?  I don't understand what that has to do with me, says Julia.  Fair question, agrees Petofi--in point of fact, I need no servant, nor is he an intellectual giant; he abhors all forms of culture, why do I keep him on?--because I shun all forms of violence--can't stand the sight of blood--Aristede has no such scruples.  Julia realizes where this is leading.He revels in every form of torture and bloodshed known to the mind of man, continues Petofi--I think he's even invented a few himself--he kills without the slightest feeling for his victim.  Aristede smiles proudly.  He will kill you, Dr. Hoffman, says Petofi, if you don't tell me what I want to know.  Julia shakes her head--I've told you everything I know!  Dispose of her as you like, Petofi tells Aristede--"Goodbye, Doctor," says the Count, and leaves.  Aristede smiles in eager anticipation.

In the room that once housed Barnabas' coffin, Aristede ties Julia to a chair.  "I thought your kind had gone out with the Middle Ages," says Julia, her voice trembling.  Petofi wasn't bluffing, Aristede assures her.  I'd have given him the information he wanted, says Julia--if I had it to give.  Aristede checks her bonds.  What are you going to do to me? she asks.  I was thinking that over while securing the ropes, he says.  I'm sure you haven't run out of creative ideas, says Julia bitterly.  No, I have several in mind, he admits, but haven't chosen which I'll use.  Julia's terrified, lips trembling.  Beth sneaks downstairs in Petofi's lair as Julia says, how foolish a young man you are, so devoted to Petofi, you're too blind to realize how much he despises you.  Beth listens at the closed door.Aristede chastises Julia for the old trick of trying to turn friends against each other--I know everything I am to him.  "What are you?--not a man, certainly," says Julia (what does THAT mean?)  Aristede, angry, says, I'll enjoy killing you--the pleasure may be unbearable!  "Where are you going?" asks Julia.  Beth hurries away from her eavesdropping posture, back toward the steps.  Don't sound so worried! says Aristede, I won't leave you alone.  Beth hides.  I've settled on the method I'll use, says Aristede, but I must gather some materials--I'll leave the door open, in case you get. . .lonely?  And he leaves, laughing, heading to the cupboard to get some items.  As he returns to Julia, Beth races out.  Aristede, unraveling some rope from a spool, suggests, you're going to die of curiosity before I even get to you!--and seems pleased by the prospect.  Julia gasps in dismay.

Woods - Beth returns to tell Barnabas--Julia IS at the mill, she reveals, about to be killed--you must go there right away!--Petofi isn't there.   I'm very grateful to you, says Barnabas, and rushes off.  Aristede, having completed his Rube Goldberg set-up, offers to tell Julia how it works.  He cocks a gun that is pointed directly at Julia and hooked up to a simple device.  "I can see how anxious you are," says Julia, near tears in her terror.  The device is simple, explains Aristede--one end of the string is attached to the trigger, the other to the door--when the door is open, it pulls the string, which fires the pistol--and you die.  Her voice shaking, Julia disses, I thought Petofi said your imagination was great for this sort of thing.  The creative part comes along later, brags Aristede, after I'm gone--we believe someone will try to rescue you--we're hoping it's Barnabas-- it would only be fitting for him to be your executioner.  He takes a handkerchief from his pocket and stuffs it in Julia's protesting mouth.  "Goodbye, Dr. Hoffman," he chortles and affixes the string to the outside of the door.  Barnabas comes downstairs.  "Where is she?" he demands.  My dear Mr. Collins, greets Aristede.  Tell me where she is or I'll kill you! warns Barnabas.  I don't know who you're talking about, says Aristede.  Julia listens from the other room, despair on her face (SPIT OUT THE GAG!)  Julia Hoffman, says Barnabas--you have her here.  You're mistaken, says Aristede, I've been alone.  What about that room? asks Barnabas.  There's no one in there, says Aristede.  You won't mind if I look, says Barnabas.  No reason to, says Aristede innocently.  Barnabas goes to the door.  Aristede bears a hasty retreat.  Barnabas opens the door; we hear a shot!  He enters to find the rope between doorknob and gun broken.  Julia is slumped in the chair.  Has he killed her?

NOTES:  You've got to love Aristede's idea, not only is he killing his victim, he's forcing her friend to be the executioner.  It was nice that Beth agreed to help Barnabas without coercion (I thought she was leaving town when I saw the bag she was carrying).  She really is sweet, and perhaps too good for Quentin.  Petofi is an impatient SOB.  He can't conceive of the idea that he could have made a mistake with the I-Ching, or that he is actually responsible for where he goes once he throws the wands, only that Julia must have lied to him.  Can you imagine how Barnabas feels right now, believing he's killed Julia?

Love, Robin

836 - Julia stands nervously in Collinwood's foyer, begging, appear to me, Quentin--I must speak to you.  She calls up the stairs, but when she receive no response, she slowly ascends the stairs.

Candle in hand, Julia goes up to the tower, still begging Quentin, speak to me!  She hears a door opening, and goes in.  She asks, "Are you in this room?  Is it you I feel?"  The door closes, locking Julia in.  She starts going to the door, but stops when she hears a woman's voice telling her to wait.  We see a silhouette against the lightning outside.  The woman tells Julia, you must go away--he will not show himself to you.  Who are you? asks Julia.  Beth drifts out of the darkness and says, my name would mean nothing to you.  Julia holds up the candle--I know you, she says, you were a servant in this house.  Listen, Beth begs--you must not stay here.  You have helped us before, says Julia, given us your guidance--she you have GOT to get Quentin to speak to me now.  No, answers Beth.  It's more important now than ever that you help us, pleads Julia.  There's nothing more I can do, wails Beth, he cannot be reasoned with!  Why? asks Julia, what is he doing, why does he want to destroy David?  "He loved the child," says Beth, and sees David as Jamison's reincarnation--Jamison was one person on earth Quentin truly loved, and before he died, Jamison rejected him, the worst blow Quentin ever suffered---in death, his spirit could not rest, and he'd settle for nothing less than Jamison's forgiveness and love.  We might be able to help him get what he wants, says Julia.  No one can do that, insists Beth.  Yes, there may be a way of me going back to the past to right the wrongs, says Julia, but I must know one thing--who killed Quentin?  It's very difficult for me, says Beth.  Help us! cries Julia, if you care anything for David Collins!

It happened in Collinwood on the 10th day of September, 1897, begins Beth, and we flash back to that day. . .Quentin comes downstairs.  Beth hurries out and asks, where have you been--I've been looking for you all day.  Evasively, Quentin says I was in my room, doing some work--I've been busy, concerned with family affairs that have been taking up all my time, he adds brusquely.  That never happened before, she says, this concern with family affairs.  "WELL, IT'S HAPPENING NOW!" shouts Quentin, and I don't see why you can't understand, I am a Collins.  She tries to apologize--I didn't mean it--but he won't let her.  I don't care what you mean, he says cruelly, I can't talk about it now.  He runs upstairs,d away from her.  Beth begins to cry.  Angelique asks Beth into the drawing room for a "frank conversation." Beth joins Angelique, who closes the doors.  He didn't mean to hurt you, says Angelique, it's just his way--I'm sure he's quite fond of you.  More than fond, insists Beth, puzzled--Quentin and I are going to be married.  Will the family allow that? asks Ang.  The family has nothing to say about it, says Beth haughtily, it's up to me and Quentin to decide--and we've decided, which is none of your business.  Beth starts to leave the room in a huff.  I wanted to break the news gently, says Ang but you aren't making it easy on me.  What news? asks Beth.  Since Quentin hasn't told you, I must--the reason he's been avoiding you lately is because "he's become quite involved with me--and he is going to marry me."  Beth is stunned.  I'm sorry  to have to tell you this way, says Angelique--if there's anything I can do...  Beth's face crumples, she screams out, "NO!" and runs off.  As Angelique closes the doors, she says, "You'll get over it in time, my dear, everyone does."  (Like you ever did!)

Julia asks Beth's ghost, what did you do and where did you go after the confrontation with Angelique?  I cried in my room for what seemed like days, says Beth, and when I stopped crying, I knew someone would die that night...

Go on, encourages Julia, WHO was going to die?  I was, says Beth--I had been in love with Quentin from the first time I saw him--I was afraid to admit it to myself, he was a member of the family and I a servant--once I admitted it, and knew he loved me, too, he became my whole reason for being.  We flash back to Beth, sitting on her bed in her room.  Now that he had turned me away, I felt I had no reason to live any longer.  On a table, Beth has a bottle labeled poison and beside it, a glass of water.  She takes the bottle into her hand and unstops it, but before she can add it to the water, she has a visitor, Jamison, who wants to see her.  She tries to send him away, claiming she's tired, but he petulantly tells her he has something to show her--and it will make you proud of me.  Agony in her eyes, Beth puts the cork back in the bottle and hides it in her hand.  Jamison has a puzzle she gave him to figure out.  She was sure he wouldn't be able to find all the figures in it, but he has, and shows it to her--I took a pencil and outlined each of them.  Beth, beginning to cry, says, I'm very proud, it's wonderful.  Jamison, alarmed, asks what's the matter--why are you crying?  I can't talk about it, she sobs.  She has exposed the bottle in her hand, and Jamison spots it.  She grabs it into her hand.  It's nothing, she says, just a bottle.  He pries it from her hand.  "Beth, this is poison!" he cries--"What were you going to do with it?"  Oh, Jamison! she sobs.  You're going to kill yourself, he realizes--why?  You're so young, Beth says. you can't know how I feel.  About what? asks the boy.  "Quentin...and me," she responds.  What about you? asks Jamison.  "Quentin and I were going to be married," she explains, "and now he's marrying Angelique."  It can't be true, insists Jamison, Quentin wouldn't do a thing like that.  He is, says Beth venomously, he's going to marry HER!  Don't cry, says Jamison---you've always been good and kind to me--I love you.  (That's such a sweet thing to say.)  "Oh, Jamison," she wails.  I'm not going to leave you alone until you promise not to do anything to hurt yourself, he says--will you?  She turns to look at him and promises.  I have something I must do now, he says, but will come back to talk with you later on.  Yes, later, she says.  Jamison leaves.  Beth opens her drawer and takes out a gun (does everyone have one?)  She contemplates something for a moment, then quickly returns it to her dresser and sits down on her bed.

Angelique holds Quentin in her arms.  It was something that had to be done, she says.  He looks angry.  The girl had a right to know where she stood with you, says Ang, and I felt it my duty to spare her anymore humiliation.  She's caressing his shoulder, but he doesn't react to her touch.  I'm sure you think I did the right thing, she says, and she turns his face to hers for a kiss.  Jamison catches them.  I want to speak to you, he sternly says to his uncle.  Angelique tells Jamison, your uncle doesn't have time to talk to you right now.  "I'd like to speak to you alone," says Jamison, addressing his gaze to Quentin only.  (He sounds like a little adult.)  Leave us alone, Quentin tells Ang.  When she does so, reluctantly, Jamison jumps right in and demands, are you going to "marry that woman?"  Who told you? asks Quentin.  Beth, just now, says Jamison--how could you do that to her?--I thought you loved Beth.  I do, says Q, and, ashamed, turns away.  Then why are you marrying someone else? Jamison asks--breaking your word to her?--how could you drive her to almost kill herself?  This grabs Quentin's immediate attention.  Kill herself?--is she all right? he demands.  Yes, says Jamison, but if I hadn't walked into her room when I did. . .  I must go see her, says Quentin--is she still in her room?  Yes, answers Jamison, but she doesn't want to see you--you've got to tell me why you did this!  You're too young to understand some things, says Quentin.  I must know, says Jamison earnestly, it's terribly important to me.  You've got to try and understand that the grownup world is different from your own, says Q.  "All I understand is that you've hurt someone, someone you love very much, I can't understand why you'd do that, Quentin--I don't want to see you anymore--I don't want to talk to you or have anything to do with you!  I HATE YOU, QUENTIN!  I HATE YOU!!" And he runs from the room, Quentin trying fruitlessly to stop him.

1969 - Then the prophecy was true, says Julia, the third event did happen--Jamison's rejection of Quentin.

1897 - Beth leaves her room, looking self-satisfied.  She goes to the drawing room.  I'm sorry, says Quentin, truly very sorry--I wanted to tell you, tried, but couldn't find the courage--I didn't want to hurt you.  He takes her into his arms.  I know you can't understand this, but. . .he hugs her close--I really do love you--please forgive me, he begs.  There's a gunshot.  Quentin's mouth drops open.He grabs his stomach, where Beth has shot him, and wobbles toward the door.  Beth smiles.  "I wasn't the one to die," she says, "not me, I was going to die because I loved you!"  Quentin staggers across the foyer, holding onto the table for support.  Beth continues, "Until I realized I was wrong.  It was you, Quentin, you who had to die, not me!"  Quentin lurches upstairs, holding his wound.  "And you're going to die," she adds, pursuing him upstairs.  "You will die!  You'll never get away, I'll get you, Quentin!"  And she comes after him, aiming the gun for another shot...

Quentin reaches the tower room, his shirt and cost covered with red. There are bloodstains along the banister.  Beth, smiling madly, pushes open the door and confronts Quentin, laughing.  She shoots him again, and again.  He falls to the floor.  Beth's smile disappears; she begins to cry.  She turns and walks from the tower room, leaving Quentin lying there, mouth and eyes open wide.

"After he was dead," Beth tells Julia, "I went back downstairs.  I saw the other woman when she returned to the house, saw the look of shock on her face when she began to realize what had happened."

Angelique returns to Collinwood, calling for Quentin.  She spies the bloodstains on the floor, which look like rose petals at first, then follows them upstairs, rushing her steps.

Thunder rumbles.  Beth tells Julia "They found his body later that night, here in this room, and they found mine here the following morning.  I thought killing him would help release me from loving him, but it didn't."  Julia doesn't understand--if Quentin died in this room, why was his own sealed up?  Beth doesn't know.  Thank you for all you told me, says Julia--I hope there's time for what I must do.  Julia leaves.  I'm sorry, Quentin, says Beth--I had to tell her!--it was time someone knew the truth--"Please don't be angry with me, Quentin!"  She retreats into the shadows.

Julia goes downstairs into the foyer.  David is in the drawing room, breathing heavily.  What are you doing here? she asks.  Quentin appears, his face malevolent.  "Quentin!" cries Julia.  "You're the reason he's here!--David, come away from him--he wants you to die!"  Julia stares at Quentin, who smiles evilly back at her.  "I don't want to die," protests David.  Then come away from him, demands Julia.  Stay away from him.  "I don't want to die!" repeats David.  He walks into Julia's arms.  It's all right, she assures him.  He collapses on the sofa.  "It is too late!" says Quentin as Julia takes the boy's pulse.  "He is mine!"  "It's not too late!" retorts Julia--"He is still breathing!--he is still alive!"Professor Stokes enters, calling to David.  Quentin fades away.  Julia calls to Stokes, who joins her in the drawing room.  I found Quentin here with the boy, says Julia--I found out everything I need to know now, and must go back to the past--it's more important than ever that I go back now.  Stokes asks, is David all right?  Yes, says Julia.  She returns to David and takes his pulse, then stares at Stokes, horrified.  "David is dead!" she cries.  And Quentin's hysterical laughter pulsates through the room.

NOTES:  Another pulse-pounding finish!  How interesting--we had that dead body in Quentin's room, but it wasn't Quentin, and Beth didn't know who it was!

Is the Collins heir dead?  Have all of Barnabas' efforts been for naught?  Will he die in 1897, fried when the sun comes up?  The vampires on the WB don't need coffins, in BUFFY or ANGEL!

Speak of changing the past!  If Angelique hadn't become involved with Quentin, Beth wouldn't have become angry enough to kill him, so does this mean Angelique, or another woman, caused this to happen in 1897 originally?  That time stuff boggles the mind!


837 - Julia, still in her coat, sits before the "I-Ching" wands, puts her hands on the table as if at a seance, tells herself to concentrate only on the door that will take her to the past--to Barnabas...concentrate.  She closes her eyes, thinking hard, then rises and goes to the door.   It must open, she tells herself, willing it to do so.  It does.  There's another door, one that appears to have a presidential seal on it.  She opens that door, and finds another door, the same, and opens that, too.  The next door is different from the previous two, and she opens that one, feeling cold.  We hear the weird science fiction music as Julia looks down the corridor of doors through which she just passed, and the first, with the wands on it, closes.  "Barnabas!" Julia calls, her voice echoing.  Barnabas, in his cell, hears her.  Who are you and what do you want? He asks--"WHO IS IT!" demands Barnabas.  He hears a hideous, prolonged scream.

Julia hears Barnabas asking, who's calling me--who needs help?  Barnabas! she cries, then collapses outside the front doors of Collinwood.

Charity, dressed as Pansy, sits in the drawing room, shaking her foot.  She takes a drink, hears footsteps.  Edward appears.  I was hoping it was Quentin, she says.  He looks at her disapprovingly.  I needed the brandy to warm me, she says.  On a night like this? he asks.  When you're bearing the kind of news I've got, it puts a chill on the night, she says.  I'm sure what you must tell Quentin can wait until tomorrow, says Edward--there's no telling when he'll come home--I haven't been too successful as my brother's keeper.  He's got to come home sooner or later, insists Charity.  He's been known to stay away from home more than one night, says Edward, his business--I'm going to sleep now.  She takes another drink, bidding him good night.  What I really mean, says Edward, is that I want you to go.  I want to wait for Quentin! insists Charity.  You've been waiting for hours, protests Edward, it's past midnight!  I know, she says, it's the day...it's the 10th of September, the day Quentin's going to die.  Edward scoffs.  You know that as well as I, she says--you were here when I had my vision!--oh, she laments, it was grim, gruesome, and it's going to happen unless I get to Quentin to tell him to take care.  Is that what you're waiting to tell him? asks Edward.  Yes, what did you think it was? asks Charity.  I didn't know, says Edward, I find your thought patterns difficult to follow.  Now you know how important it is for me to just keep waiting, he says.  He hustles her from the room.  Tell Quentin to come to the Blue Whale, where I'm working now, says Charity--tell him I must talk to him.  Edward promises to leave him a note.  She smiles--come to the Blue Whale and catch my act, says Charity--do you some good to get out of the house sometime--"keeps ya snappy, if ya know what I mean," she says lewdly--I'm glad you finally got around to listening to me.  When Charity opens the front doors, however, she finds Julia, and screams, shouting for Edward to come--there's somebody here.  Edward comes out and takes her pulse.  Is she dead? asks Charity.  No, says Edward, patting Julia's face.Why is she dressed like that, Charity asks.  Edward doesn't know.  Charity remarks, I've never seen anyone dressed like that before, ain't hardly decent!  Edward says, "Miss, miss!"--we've got to get her inside.  I know who she is, says Charity--the one who's going to kill Quentin, she's got doom and disaster written all over her face--can't you see it?

Julia opens her eyes.  Edward helps her to stand.  He brushes the leaves off her coat.  Charity is alarmed.  We can't leave her outside, insists Edward.  Then you must call the "coppers," says Charity.  Not until I've spoken to her first, says Edward.  Julia looks around Collinwood as if she doesn't recognize it.  Edward tells Charity, you shouldn't keep your Blue What admirers waiting any longer; I'm going to look after this lady--good night.  Charity goes into a rant--I saw doom in this woman's face, she's going to kill Quentin!  Edward closes the door on the raving woman.  Julia sits on the sofa, staring straight ahead.  Why did you come here? Edward asks--who are you, where are you from?--but Julia looks at him blankly, as if she has no idea at all.

Miss, says Edward, do you know where you are?  You're at Collinwood--did you intend coming here, or was it an accident that brought her to our door?  Do you understand me?  Speak if you can.  "I speak," says Julia carefully.  Good, he says, now who are you?  Shapes, whirling faster and faster, she says.  What shapes? he asks--did you meet with some accident?.  Quentin enters.  He apologizes for interrupting Edward's company--and at this hour of the night, he smirks.  Come in here, orders Edward, as Quentin starts to go.  Who is she? asks Quentin, now serious--I've never seen anyone like her in my life.  Edward asks, in your travels, have you ever seen anyone like this?  Not even remotely, says Quentin.  She collapsed at the door, Edward explains--she's in shock.  Did you get anything out of her? asks Q.  Only nonsense, says Edward, I'm calling Dr. Brooks, wait here with her.  Quentin circles the sofa, looking at Julia.  Hello, he says, so you're not in the mood to tell me anything about you--perhaps I can find something to talk for her.  He begins to rifle through her coat, checking the pockets.  He finds a letter in her pocket, but when he removes it, she tries to take it back.  I'm trying to help you, he assures her, not hurt you--I know it isn't polite to look at other peoples' letters, but I'll return it after I look at it.  "My dear Julia," he reads, and asks if she's Julia.  She stares at him, puzzled.He reads Barnabas' letter to himself, wondering why the paper is so old if the date is today.  He reads that Barnabas is in a cell at the Old House and will die in another 8 hours.  It's written by Barnabas.  Why are you carrying a letter written by Barnabas? demands Quentin.  He reads about 1969, and Barnabas' hope the letter would reach her, and why his mission in the past was a failure--Quentin Collins will die on September 10th.  He then reads the part about Quentin being rejected by Jamison.  Edward comes in and tells Quentin that Dr. Brooks is on the way.   Quentin hides the letter behind his back.  You're very kind to help a stranger this way, says Q--I have to go.  Where? asks Edward.  I have an engagement in town, says Quentin confidentially.  I want you to stay until the doctor arrives, insists Edward.  Tell me about it in the morning, says Q cheerily, and leaves.  Edward returns to Julia, who has uttered one word--"afraid."  Afraid of what, of whom? he asks.  She doesn't answer, but looks at him oddly.

In the cell, Barnabas walks over to the desk, wondering if Julia will ever see the letter he put there.  He hears footsteps.  Barnabas asks, "Is that you, Edward?--have you come for the kill?"  It's Quentin, not Edward.  How did you find me? asks Barnabas.  I'll tell you in a minute, says Q.  That's right, we haven't much time, says Barnabas, at least get me away from Edward.  My brother is busy, says Quentin, tied up completely, which I'll also tell you in a minute--as soon as you tell me the meaning of this letter!  Barnabas looks nervous.

Barnabas looks over the letter.  He asks Quentin, where did you get it.  From a woman now at Collinwood, says Quentin--a very strange woman--oddly dressed, and her behavior is quite peculiar.  "So hers was the voice I heard calling me," says Barnabas--what did she say about herself?  Not much, says Q, she's in some sort of shock--Edward's with her, waiting for the doctor.  This horrifies Barnabas.Who is she? asks Q.  Her name is Julia Hoffman, replies Barnabas, she's come from my own time.  This intrigues Quentin--that does explain some things--how did she come here, and have a letter written by you?  "I'm not sure," says Barn, but you must get Julia and bring her here at once.  Quentin sharply says, I'll bring her--just as soon as you answer a question about that letter!  I will if I can, says Barnabas.  "You wrote that I'm supposed to die on September 10th," says Quentin, "today.  Just how did you arrive at that day?"  Barnabas explains to Quentin that Charity Trask had a vision, which she told to Magda, and Magda told me.  Quentin laughs.  Barnabas, that girl is completely mad, and I'm surprised you believed anything she said, says Q--I suppose the prophecy about Jamison rejecting me is hers, too.  A few months ago, Jamison had a dream, reveals Barnabas, explaining about the finding of a silver bullet at Collinwood.  Q remembers--someone who could help me would die--Julianka--the third thing won't happen, insists Q, Jamison would never reject me (but he already has!)  So, you have a long life ahead of you, Quentin, says Barn, but predictions somehow have a way of coming true.  This one won't, says Quentin--"Barnabas, how soon after the third event happens am I supposed to die?"  Very soon, warns Barnabas.  Quentin smirks--I see, he says.  Quentin unlocks the cell.  where will you be? He asks--I'll bring Julia to you.  The old rectory on Pine Road, says Barnabas, I'll wait for you there; make sure Edward doesn't see you taking her from Collinwood--I don't want him to know there's any connection between me and Julia.  Trust me, he won't know, says Quentin.  Barnabas leaves.  "It's going to be a generally disappointing evening for Edward, isn't it?" muses Quentin.

Julia sits in another chair.  Do you feel better? asks Edward--the doctor didn't find anything wrong with you.  Quentin enters.  I'm glad you're here, says Edward.  That's a sentiment you rarely express, says Quentin humorously.  I have an engagement myself, says Edward--I'll tell you about it later--keep an eye on her--I had one of the servants round up suitable clothing.  You think of everything, says Quentin.  I wonder why she's dressed that way? Asks Edward--most peculiar.  Enjoy your "rendezvous," encourages Quentin.  Edward leaves.  Quentin tells Julia, you've got to come with me--I'll help you get up--I'm taking you to a friend--Barnabas.  "Barnabas is at the Old House," says Julia slowly.  No, says Quentin, he's at the rectory, and waiting for us.  He helps her up.

Edward, gun in hand, takes the key off the wall and unlocks the cell.  It's empty.  ."My God, he's gone, he can't have gotten away--not by himself!" gasps Edward.

At the old rectory, with lots of stained glass all around, Barnabas paces.  Quentin comes in with Julia in tow.  She doesn't recognize you, notes Quentin.  Perhaps the journey through time was too much for her, suggests Barnabas.  Julia looks at him.  We must question her, says Barnabas, we have so little time to find out.  Find out what? asks Q.  Why, when and who kills you, replies Barnabas--I have a feeling that Julia, when she saw the letter, learned something about your death that was so important, she risked coming through time to tell me.  Yes, but what? asks Quentin.I'm not sure, says Barnabas--somewhere locked in her mind she knows something we must know before it's too late.  You're really sure something is going to happen to me, aren't you? asks Q.  Yes, replies Barnabas.  He goes to Julia and gently asks,  "What is it, Julia?  Try to tell us, try to remember, think where you came from, what you knew there, what you MUST remember."  I'm sleepy, complains Julia--I need some sleep--and she drifts off in the chair.  I can't force the knowledge from her, says Barnabas, even if I had the time, which I don't--I must go now, it's almost dawn.  Dawn, of September 10th, 1897, adds Quentin.  Stay with her, says Barnabas, perhaps she will remember.  And if she doesn't? asks Quentin bitterly--if Charity is right, this could be the last time we two will see each other!

NOTES:  Why does Charity think Julia is the one who is going to kill Quentin?  Is this just an irrational fear she has?  We know that isn't so, unless history is about to be altered.  I remember how fear was building up (and doesn't time seem terribly compressed all of a sudden?) as the day of Quentin's demise came closer.  Now we have David dead, and Quentin's death closing in fast.  What will the outcome of all this be?  How interesting that Julia, with no host body to receive her in the past that Barnabas had, endured such a rocky ride.  He just re-entered his body from 1795/6 with nary a dizzy spell.  Every moment Julia's memory and mind are disjointed is one more moment closer to Quentin's death.  Edward was so nice to Julia, too, really behaving unlike himself--and now he's going to find her gone, as well!  How frustrating to lose his vampire prisoner and the odd woman so close together.  Nancy Barrett turns in another splendid performance as Charity/Pansy, especially in her hysteria at Julia's odd arrival.  Imagine Pansy/Charity having the nerve to call someone else's attire "indecent"!   I guess it's all a matter of viewpoint!

Love, Robin