1032 - Irony has always been the cornerstone of Barnabas' life--he wanted to get back to his own time so desperately, and now, when he has managed to succeed in doing so, the timing is all wrong. Poor guy.
Julia steps forward--Barnabas, she asks, what kind of danger is Maggie in? She's disappeared, he explains, and I believe she's being held by someone, possibly Angelique. I think she's as evil in that time as she is in this, she opines. How do you know that? he asks. Julia explains--I earlier saw Angelique talking to that other Julia Hoffman--the room changed--she was so cold and cruel, I don't understand how my counterpart can be so different from me. The entire world is different from the one you know, says Barnabas. She touches his arm--we've all been very worried about you, she says--Angelique said she had to find a way to destroy you. That doesn't surprise me, says Barn, she's aware of my suspicions--what else did you hear them say? That it was necessary to discover what your secret is, says Julia. Yes, grins Barnabas--did you hear them say anything about Maggie? No, says Julia, but what difference does that make--you're away from them now. I have no intention of staying away--I must go back to that time, insists Barnabas. Go back? repeats Julia, horrified. Yes, says Barn, I intend to find Maggie and reunite her with Quentin. That's insane! says Julia--there's no way you can return. Yes, the same way I went before, he says. You mean stay in this room until it changes again? she asks. I have no choice, he says, we know the room does change. I won't let you do it, she insists.
My mind is made up, don't try to change it, counters Barnabas (stubborn SOB). Julia looks at him--all right, she says, I'll go with you. Out of the question, he says--you forget, I have no counterpart in that other time band, you do--there is already a Julia Hoffman in that other band of time--suppose there's a law that says only one can exist in any given band of time--and the presence of two means one must die? I will take that chance, Barnabas, she says tenderly, knowing I may never see you again. (Oh, Julia!) He looks at her and says, softly, I won't let you take that chance--besides, I was able to get here this time, I'll be able to get back again. IF Angelique doesn't discover your secret and destroy you, she reminds him. Don't worry, he says--I'm well-protected--there's one thing I want you to do for me--get the key to that door and come back up here and lock me in--if there's anyone from this house that should come up here, I don't want them to get trapped in that other time band with me. Are you sure there's no chance you'll change your mind? asks Julia. Positive, he says, now go and get that key. Reluctantly, touching the front of his jacket, she gives him one last reproachful look, and goes. Barnabas stands in the dark, empty room, looking around.
In PT, Angelique and Julia hurriedly enter Angelique's room. You're sure no one knew I was out of the house? asks Julia anxiously. No, says Ang, stop worrying, you weren't gone that long--did Yaeger give you a message for me? No, says Julia, I gave him the letter from Quentin and he told me I could leave the house--he's a very hostile man. We can endure his hostility as long as he's of use to us, says Ang. Upset, she spots her diary--which I'd locked in the drawer, on top of the desk--someone has been reading it. I think we can guess who it is, says Julia. Barnabas, guesses Angelique--but if he read it and knows what's in it, why didn't he take it with him? I don't know, says Julia. It doesn't make sense, insists Angelique, this is something he could have used against me. Burn the diary, Julia advises. No, says Ang, it's my only link with the past--I'll hide it somewhere Barnabas will never find it. She hurries off, Hoffman at her heels.
Julia returns to the room to find Barnabas already back in PT. Why can't I get through? she laments despairingly--I've got to help you, find you!
Hoffman catches Barnabas looking in one of the drawers in a table in Angelique's room. Are you looking for something? she asks coolly. As a matter of fact, I am, he says, the last time I was in here, I had a book with me, and I thought I left it here. Did you? she asks. Apparently not, he says, I haven't been able to find it--but it's possible I had it here and SOMEONE took it. Anything is possible, agrees Hoffman--if you'll excuse me... Why don't you and I agree with each other for once? he suggests, and have a good talk. I don't understand what you're talking about, she says. I think you're fighting a losing battle, he says, you're on the wrong side, Hoffman. That makes no sense, she tells him. One time, I knew a woman who looked remarkably like you, he says--she was a doctor, a kind person and a true friend--one who would never stand by and let an innocent woman like Maggie Collins get hurt (oops, if we cite your early history, Barn, and Julia's machinations with Maggie Evans...) I have never been anything but considerate to the second Mrs. Collins, insists Hoffman coldly.
You know where she is right now, accuses Barnabas. I haven't the faintest idea, insists Hoffman. Perhaps, he says, but if you do, you are going to tell me. He locks eyes with her, hypnotizing her. She backs away; he pursues her, but his attempt is foiled when Angelique comes in and says, Hoffman, I need you downstairs right now--you will excuse us, won't you, Mr. Collins? she asks Barnabas, who closes the doors after the two women and resumes his search for the diary.
Maggie lies on the bed in her cell, looking remarkably clean and pretty for a prisoner. (Is there a bathroom in the vicinity?) Yaeger enters. Maggie lies back, breathing harshly. How are you feeling? he asks. You've got to let me out of here, says Maggie. You keep saying that, he says, angry, but you keep forgetting the one condition under which I'd let you leave--are you willing to walk out that door with me, and not try to escape? NO! she cries. Well, you see you're not ready to leave, he says--you haven't adopted the proper attitude--now you can say you want to leave, but you'd have to mean it, and you'd have to convince me you mean it. You've got to let me out of here, cries Maggie--I'm not well, I have a high fever. He feels her forehead. You're quite right, he says. Anyone would get sick here, she says, it's damp and cold. Don't you worry, he says, patting her head, I'm not going to let anything happen to you--by tomorrow, you'll be completely well. What are you going to do? she asks. Pick up some medicine, restore your health, he promises. You're not a doctor, says Maggie, you don't know what to do. I was an associate of Dr. Longworth, he says, and I still have access to his lab--I know what must be done. Why don't you just let me go? she asks. Where would you go if I let you out? he asks. Back to Collinwood, she replies, sitting up on the cot. Aren't you aware of the rather cold reception you'd get if you went back? he asks. I don't understand, she says. You wrote that letter to your little darling Quentin, telling him goodbye forever, he reminds her. You made me write that! she cries. Quentin will believe it, Yaeger assures her. He knows I wouldn't leave like that, she says. You're wrong, he says, because I have an answer from your darling little Quentin. Where is it? she demands. I have it right here, he says, holding it out to her. Give it to me, she begs. You're much too sick to read it, says Yaeger, who opens it himself and reads aloud--"Maggie,"--notice he didn't call you my darling, or dearest? Just tell me what it says! she says. He reads: "I might know where to begin, Maggie, if your behavior at Collinwood had not been so totally incomprehensible to me, you obviously know what you're doing, and what you want, but it has been and still is a mystery to me. I have tried to understand but find that I cannot, you must believe that what you've done is for the best." Her face filled with misery, Maggie falls back onto the cot, wailing, I don't want to hear anymore! Yaeger hands her the letter--you she can finish it yourself, he says. I don't want to read it, says Maggie, and rolls away from him. At least take a look at it, he says. She turns and notes it is Quentin's handwriting. Quentin's trust in you is not what you expected, says Yaeger triumphantly. Where did you get that letter, who gave it to you? she asks. What difference does it make? he asks--the only difference is that soon you'll forget Quentin ever existed, and then you're going to find a love you never dreamed possible!
--you think about that, Maggie, I'm going to go now, get something to make you better--think about it, Maggie. He leaves the ill, despairing Maggie alone, locking the door behind him.
Maggie rises from the cot and tries the door--I must get out of this place, she tells herself--but how? If only I felt stronger--no, there might be a way. If I can persuade him to take me out...
Barnabas continues his fruitless search of Angelique's room. This time, Angelique catches him--what are you doing in here? she demands. "Need you ask?" he says. Either tell me what you're doing here or I'll go directly to Quentin, she threatens. Tell me, Angelique, he begins. My name is Alexis, she says, and you will call me that! Tell me, he asks, not using either name, who is the mysterious man who believes he can circumvent death? I haven't the faintest idea what you're talking about, she says.
I'm talking about your diary and you know it, he says--I found it most intriguing. What a vivid imagination you must have, she says, I never kept a diary, and neither did my sister. I might have known you wouldn't answer my question, he says, but that passage in your diary obviously has something to do with the fact that you survived death--and someone else, other than myself, knows your secret--and I intend to find out who that person is. Barnabas leaves, closing the door behind him. Angelique sits in a chair, fuming. Hoffman enters--I just saw Barnabas leave, she says . Yes, says Ang, upset--I just caught him going through the room. Hoffman asks, "The diary?" Yes, says Ang. He didn't find it? asks Hoffman. No, says Angelique. It isn't safe as long as he is in this house, insists Hoffman--and that means that YOU are not safe. I know, says Ang. I feel we should burn the diary, says Hoffman. I'm inclined to think so too, now, says Ang, but the diary isn't the only thing we will destroy--we will find out what Barnabas' curse is and use that knowledge to destroy him--I don't know how yet, but we will watch him very carefully, follow him, perhaps--sooner or later he'll have to do something to betray his secret to us, then we'll know what to do.
Maggie paces her prison. When Yaeger returns, she hastily sits on the bed. I brought you the medicine, he says, handing her a bottle of pills--I'll get you a glass of water. He leaves the door open; Maggie looks out. He brings her the water and gives her two pills--an antibiotic, he says--you'll feel fine, he assures her. She swallows the pills with the water. Good, he says, take two more of those in the next four hours. In four hours, she says, we won't be here. I beg your pardon? he says. I've decided to go away with you, she replies. You reached that decision quite suddenly, he says. You told me I should think about it, she says--that's what I did. I also told you, he reminds her, that you had to convince me you wanted to go--I'm afraid you haven't convinced me--you have to do better than that. You can think whatever you like, she says, and you can do whatever you want with me--I'm telling you the truth--I read that letter from Quentin after you left, and I realized how right you were--there's nothing for me at Collinwood, I have no future there--I'm not going to lie to you and tell you I love you, but perhaps in time, I could learn to. (Her voice is more gentle than the strident tone she uses at the beginning of her speech.) Hopefully, Yaeger says, "I think you really mean that." I do, says Maggie. "All right!" he says gleefully. "We're going to go away! We're going to go to New York, we're going to fly there!" No, says Maggie, I'll need some time to get clothes... You don't need any, says Yaeger--I've got all the money we're going to need! Maggie's eyes dart desperately back and forth; she looks as if she's going to explode. Yaeger's going on about the clothes, furs and jewels I'm going to buy you--"and Maggie, you're going to learn to love me!" Her face contorts--I only said I would try, she reminds him. He puts his hands on her shoulders--that's all I need, he assures her, caressing her hair--I'lll be gone for half an hour. Where are you going? she asks anxiously. I'm going to get us money! he exults, all the money we need. He locks her in again. A small smile of hope lights her face.
Collinwood - Barnabas comes downstairs, grabs his cloak and leaves the house, closing the door behind him. Angelique and Hoffman exit the kitchen. Follow Barnabas, Angelique orders her servant--watch and tell me everything he does. Hoffman nods and exits.
Barnabas returns to the Old House and calls to Will, but gets no response. He opens and enters the secret bookcase as Hoffman watches from the window.
NOTES: This isn't good--Barnabas is alone and vulnerable right now--Will gone, Hoffman peeping at his mysterious entrance into a secret place. How long before she knows all? And what will happen to Barnabas then?
Barnabas is certainly brazen about going into Angelique's room and searching. I gather Barnabas returned to PT before Julia could return with the key to the room; it was confusing, wasn't it? That was a nice scene in RT between Barnabas and Julia, and for the first time, you sense he really does care for her. Unfortunately, this lovely impression will be negated all too soon, as we will shortly see.
I know many are of the opinion that Maggie should be trying to convince Yaeger she'll eventually love him if she has any hope of getting out, but between her illness and cluelessness, I suspect she won't be able to do so--the only thing that will REALLY convince him is having sex with him, and I can't imagine her overcoming her revulsion enough to allow that.
Hoffman really is doing heinous things for her mistress here, ferrying letters back and forth, protecting Angelique and her personal items from Barnabas. I do love the interaction between this Angelique and Barnabas here; there's no sexual history in their past, no confusion about feelings --it's pure hatred on both sides, and very enjoyable to watch!
Will Hoffman find Barnabas' coffin and stake him? Stay tuned!
1033 - Barnabas searches in vain for Will--I need you, says Barn--and finally enters the secret room, unaware Hoffman watches from the window.
A secret room, muses Hoffman, what can be inside it? I can't risk finding out now--I'll come back later, when he's out of the house, then maybe I'll know what his secret is. She leaves.
In the secret room, Barnabas realizes, I must find Maggie without Will's help. He holds up his cane, telling himself, when I find out who's holding her, I can use this rather than take the chance of revealing my powers--not even the jaw of the wolf itself is more devastating than this cane when it's in my hands! He leaves the secret room (I thought he was going to bed), and closes the bookcase, then exits the house.
Maggie uses a nail file to try to unlock her prison door. It won't work, she despairs. I can't give up, I've got to keep working until I get it open--hurry, before he comes back soon, please, please let me get this open, please!
Cyrus' lab - Sabrina, looking for her wallet, leads Liz downstairs, calling herself stupid--it was here all the time. Won't you come back to Collinwood for a little supper? Asks Liz. Sabrina thanks her, but says, no, I'll just go home--thank you for the concert, it was lovely. Was it? asks Liz--I fear neither of us heard a note. It was hard to concentrate, admits Sabrina. Don't worry, says Liz--Cyrus should be back in town soon and you'll feel much better. Sabrina smiles wanly, says yes and walks away. Do you miss him a lot? Liz asks. I try not to think about him when he's out of town, says Sabrina. I don't understand young people anymore; remarks Liz--Maggie leaving Quentin, Cyrus going away the way he does. PLEASE! Pleads Sabrina--it's all right--we should go. John Yaeger stomps down the stairs and greets the two ladies, bidding them both good evening. He calls Liz "Mrs. Stoddard." Have we met before? she asks. We haven't been formally introduced, says Yaeger, but who can fail to recognize the legendary beauty of Elizabeth Collins Stoddard? Liz throws a look at Sabrina and says, you're most kind. Sabrina introduces Yaeger to Liz; he forces Sabrina to admit he's a close associate of Dr. Longworth's. How do you do? says Liz. My pleasure, says Liz. Can you go over some data, if you don't mind? asks Yaeger. Sabrina, I'll go home, says Liz--if you hear from Maggie, I'll let you know. Please, says Sabrina. Yaeger listens carefully. Liz bids Yaeger good night--Sabrina, I'll let myself out. After Liz leaves, Yaeger asks, what was Mrs. Stoddard doing in the lab? Sabrina explains to the angry man, we went to a concert, I had left my purse behind. Were you planning to tell her something you shouldn't have? demands Yaeger. You know I wouldn't do that, Cyrus, she says. He immediately grabs her and reminds her, I told you not to call me that name again. Why won't you let me help you? she cries. he touches her chin--I am, he says--he opens the safe, takes out money, then opens the closet and asks, have you ever seen the wardrobe of the sartorial John Yaeger--take the clothing and send it to NY, care of General Delivery, tomorrow morning. You're going to New York? she asks. Yes, he says, taking the checkbook--after you have taken this check and sent it to the bank to get a certified check in the name of John Yaeger, and send that the same way. This is your whole account! she objects, studying the check--are you going to New York for good? Only momentarily, he says, but after that, there's a great, big exciting world out there--isn't it a pity Cyrus never knew it? Don't do it, she says, grabbing his arm. Don't tell me you're going to miss me, too, he says. Uncomfortable, she looks away. He caresses the side of her face--is it the good doctor you're going to miss?--you'll miss me whether I go or stay, Sabrina, because Cyrus isn't coming back--ever! He rubs her neck, not so sensually.
She closes her eyes in misery. He leaves. She looks at the check, sighing, turns off the lab lights, and leaves, too.
Hoffman hands Liz a cup of tea and asks, will there be anything else? No, replies Liz, sitting down with her tea. Have you seen "Mr. Barnabas" since you came home? Asks Hoffman. No, says Liz, why? Not important, says Hoffman, but he sometimes comes late in the evening and I like to get him whatever he wants. I doubt very much if he comes tonight--he's out searching for Maggie. Yes, says Hoffman, I heard he's convinced something terrible happened to her--I don't think it very likely. Neither do I, agrees Liz, especially after she sent that note to Mr. Quentin--Mr. Barnabas believes not. Mr. Barnabas is a rather...unusual man, remarks Hoffman. Yes, agrees Liz--when it comes to Mrs. Collins. I don't understand why Mr. Quentin didn't check his background more carefully, says Hoffman--that whole story about Peru... Liz coldly reminds Hoffman, Mr. Barnabas is a member of the Collins family--that name alone indicates integrity--please remember that. Yes, of course, says Hoffman, and leaves. Liz thinks to herself, Hoffman is right--Barnabas is a little strange--this insistence of his that something's happened to Maggie--for no reason whatsoever--with no proof at all. She puts down her cup and leans back, and says, wherever she is, I hope she's all right. Liz falls asleep, and dreams. She sees a hanging lamp swaying back and forth--Cyrus' lab. We see liquid dripping from a beaker, amidst psychedelic lights. Liz and Sabrina descend the staircase, where the lab has been wrecked. Sabrina picks up a book, rights a stool, picks up the phone, puts it back on the desk. She screams shrilly--lying there, dead, is Maggie, her eyes open in horror. Liz awakens, yelling, "Maggie!" and sits up in the chair. She rises, walks rapidly to the front door. Hoffman exits the kitchen area and asks Liz, did you call? No, responds Liz, grabbing her coat. You're not going out at this hour? protests Hoffman. Yes, says Liz, and leaves without another word. She doesn't answer when Hoffman asks where? She called out Maggie's name thinks Hoffman to herself--but why?
Maggie works on the door lock with that nail file, and actually succeeds in opening the door! She walks upstairs, but Yaeger waits there, out of her view; he grabs her arm with his cane. I hope you're not thinking of leaving, my dear, he taunts. Maggie, hair wild, stares at him in terror.
Having forced a screaming Maggie back into her cell, Yaeger asks, who would have thought little Maggie Evans was a liar, and hypocrite? Please, she begs, I'm not feeling well. All the more reason for keeping you out of the night air, he says. I wasn't trying to escape, she assures him. Do you expect me to believe that? he asks. I heard someone upstairs, I thought it was you, she says, and I tried the door and it was open. Oh, he says, bending down to retrieve the nail file from the floor--perhaps this curious little object...?--now that was very careless, he says, pocketing the file. He approaches her, picks up a length of rope. What are you going to do? she sobs. He loops the rope around his hands, pulling it tight--I'm going to cure your restlessness, he promises. He comes at her, pushes her down into a chair. No, don't tie me up! she pleads, I won't run away, I promise--I said I'd go away with you, I meant it! He ties her hands behind her back. You are going away with me, he vows, but I'm just making sure you have nothing to come back to. What do you mean? she asks.
Sabrina, who has followed Yaeger, listens outside the door. Maybe you'll be more receptive, he says, to John Yaeger if there's no Quentin Collins waiting for you at Collinwood! No! cries Maggie--I don't understand. He tightens the knots, threatening, I'm going to put Quentin in his grave. No! wails Maggie, please, don't hurt Quentin! He kneels and ties her feet together. Maggie continues to beg for Quentin's life.
Old House - Liz asks Barnabas, did you find any trace of Maggie? No, why do you ask? he says. I know you've been searching for her, she says. I wasn't aware you regarded her as missing, says Barn. I didn't until a little while ago, says Liz--I had a terrible dream about Maggie that seemed so real to me--still seems real. Sit down and tell me about it, urges Barn. (the famous multi-colored afghan is on the sofa). In my dream, says Liz, I was in Cyrus' lab, with Sabrina--we were just coming in, everything was broken to pieces--we came downstairs; Sabrina saw her first, lying there, everything torn and broken around her. Maggie? asks Barn. Yes, she was dead, says Liz. Cyrus' laboratory? muses Barnabas. Yes, says Liz, that's easily explained--I was in Cyrus' lab earlier this evening, with Sabrina, after the concert we went to--everything was in perfect order then. Cyrus' lab, says Barn again. Perhaps it was meeting that Mr. Yaeger there tonight, continues Liz. This snags Barnabas' attention: "Yaeger?" he says--"You met John Yaeger?" Yes, says Liz, he was a terrible man, made the whole lab seem as if it was filled with something... "Evil?" finishes Barnabas. Yes, she agrees. So, Yaeger is back, Barnabas says. Liz rises from the couch and asks, do you think Yaeger has something to do with Maggie's disappearance? There's only one way to find out, says Barn. But Maggie doesn't even know him, does she? asks Liz. I'll take you back to the house, offers Barnabas, tripping over the rug. What's the connection between Maggie and Yaeger? asks Liz. Barnabas takes his cape and cane and says, I hope to be able to find out very soon. They leave the Old House.
Maggie, now completely tied up, sways in the chair. He decides against gagging her--since no one will hear you if you yell--plants a big kiss on her mouth, then leaves. Maggie is grossed out. Sabrina starts to leave. Yaeger lifts Maggie into his arms and carries her to the bed. He hears a sound outside as Sabrina makes her exit. Behind him, Maggie begs for help, but he finds the check he'd given Sabrina lying on the stairs. What's this? he wonders--the check I made out for Sabrina so she could send money to New York--Sabrina, she followed me--she knows! He races upstairs.
Cyrus' lab - Barnabas comes downstairs, reflected upside-down through the magnifying mirror. He looks around the lab and finds clothing he knows doesn't belong to Cyrus--but Yaeger! Why here, in Cyrus' lab? There's a connection, and I've got to find out what it is--it could lead me to Maggie!
A car screeches to a halt at Collinwood. Sabrina races madly from foyer to living room, calling for Quentin and Elizabeth. She's dialing the phone when Yaeger puts his hand over her mouth, rips the phone out and drags her into the drawing room, where he quickly rips that phone from the wall, too. He closes the double doors. Why did you do that? she asks. Because I felt like it, he replies--so, you have an exploratory mind in science--except it leads to some rather dangerous places, doesn't it? Why did you come here? she asks. Curiously enough, I was going to ask you the same question, he says, advancing on her. I was out driving and I realized Liz wanted to see me, so I stopped by, she says, smiling. Is Elizabeth here now? he asks. Yes, Sabrina says, of course. Who were you making that phone call to? he asks. I was calling your caretaker, she explains, maybe the lab had been left open... Yes, smiles Yaeger, I can see how that might worry you. I guess I'll go see Elizabeth, she says, starting to walk past him. One question, says Yaeger, before you go--were you planning to go to the bank tomorrow and take care of that check? Of course I was, she says. Oh, he says, did you leave it in a nice, safe place. I'm positive I did, she says, checking her pocket surreptitiously--I locked it in the desk drawer in the lab. That's strange, he says--I wonder what THIS is--and he holds out the check--it was left on the stairway to the basement. He begins to laugh. I dropped it! she realizes. I never knew that you were that dumb, Miss Stuart, he says. What are you going to do? she asks. I think you know, he says. Why are you doing what you are to Maggie? she demands, what has she done to you--please, let her go. You don't think I'd do something that foolish, he says--to let someone like that go, who knows what I've done? What do you mean? she asks, catching his drift only too well. You know precisely what I mean, he says. "You are going to kill me!" she cries. How perceptive of you, he sneers. Cyrus, she begs, there's still time to change back, all you have to do is reconstruct the antidote. Impossible, he says, you know why--because Cyrus is the only one who can do it--do you see any of Cyrus in me? But you could change! she protests. He points to himself violently, and says, there isn't a trace in my body, my soul, no where, there's no Cyrus left! Yes there is, Cyrus! she cries, yes there is! He begins to strangle her, exclaiming, there is no Cyrus, Cyrus is DEAD! She struggles in his grip as he throttles her, insisting over and over, "Cyrus is dead and you're never going to see him again! Never! Never! Never!"
He drops her limp body to the floor as Liz enters the drawing room. She gasps, her hands on her face in horror, as she surveys what I assume (despite the fact that Lisa Richards' eyes are fluttering madly) is the dead Sabrina.
NOTES: There is a lot of physical violence on DS these days; Yaeger is a man who likes to abuse, and he especially enjoys abusing women, whether it's strangling them to death (Sabrina) or forcing them to have sex with him (Buffie). It must have been tough on Pennock, KLS and Lisa Richards to have to play out these physically taxing scenes, but they were very effective--of course, the fluttering eyelids on Sabrina make me wonder if she's clearly, sincerely dead. We can only hope.
Poor, hapless Maggie can't seem to get a break. I have to laud her skills at picking that lock, but her timing was bad. Now he's tied her up, so any further hope will have to come in the form of someone else.
I guess Liz and Sabrina were buddies, and one hopes they attended other concerts together, since this was their last. Now that Yaeger has silenced Sabrina, how is he going to shut Liz up? Are we in for another murder?
I thought Barnabas was going beddy-bye when he entered the secret room, but this just seems to have been a ploy to show Hoffman where the room was. There was no need for him to enter the bookcase to talk about his cool his cane was. He could have done that in the drawing room. Then again, I suppose he was looking for Will in there--but why would Will be hanging out there if it's not time to protect Barnabas?
Well, we have Hoffman on Barnabas' trail, Sabrina dead, Liz in danger as a witness to Yaeger's heinous deed--this is getting really good, isn't it?
Love, Robin
