976 - CHRIS! screams Carolyn. Bruno laughs gleefully. Carolyn tries the door and finds it locked. Chris, writhing in pain, gasps, you must get out, don't worry about me, there's nothing you can do, go on. Carolyn stands at the door--open it, Bruno! She orders. He stands outside, arms crossed, and listens as she screams at him. You won't be heard much longer, he tells himself, not much longer. Roger enters the cottage and faces down Bruno--I saw Carolyn come in here--where is she? You must be mistaken, insists Bruno. Roger hears Chris' moans of pain, followed by Carolyn's voice, asking what's the matter. Get out, get out! demands Chris. Roger rails at Bruno--tell me what's going on! I must order you to leave, says Bruno. Roger ignores him--I have no intention of leaving without Carolyn! He rattles the doorknob and finds it locked. It's going to stay locked, says Bruno, and pushes Roger away. Roger grabs a candle holder and slams Bruno over the head with it, knocking him unconscious. He frees the key from Bruno's hand and unlocks the door. Carolyn leans over Chris, trying to comfort him--Uncle Roger, he's in terrible pain! she cries.
Leave! bleats Chris, squeezing the words out through his agony. Roger, taking Chris' words seriously, helps Carolyn to her feet and leads her away, then locks the door. We must get a doctor! wails Carolyn. We must get out before Bruno comes to, insists Roger-- keep an eye on Bruno while I try to locate Julia. We hear him dialing the phone. Chris reaches the end of his pain, his hand now hairy. Why, wonders Roger, is no one answering the phone at Collinwood? He and Carolyn hear the sound of breaking glass coming from the room in which Chris is imprisoned. Roger unlocks the door and finds a huge hole broken in the window. I'm getting you out of here immediately, Carolyn, he says. They leave the house, Roger hustling Carolyn quickly along. Bruno comes to, checks the room, and is absolutely furious at the mess that has been made of his carefully-laid plans.
Roger and Carolyn return to Collinwood. She buries her face in her hands. Her uncle asks her for explanations. Please, she begs, not now. I know that man must have been a maniac, says Roger, but he's also supposed to be a friend of Jeb's, right? I don't know, I'm confused, says Carolyn. I want to speak to Jeb, insists Roger. I don't want Jeb or Mother to know what happened tonight, says Carolyn. In heaven's name, why not? demands Roger. I can't tell you that, she says. This man is dangerous--the police should be notified, says Roger. Promise me you won't call them, pleads Carolyn. I don't understand your attitude at all, complains Roger--he could have killed you tonight--and what did he do to Chris Jennings? Promise me you won't tell anyone about this, at least not tonight, she says--if anyone talks to Jeb, I will. Do it ASAP, suggests Roger. I will, Carolyn assures him.
Bruno checks the broken window, wondering what to do. Your reprieve is only temporary, he swears.
Woods - We hear growling, and see the creature stalking prey.
Liz stands by the drawing room window. She slowly paces, finally sitting by the fire. Roger enters, sees her sad pasture and goes over to her. Are you as concerned as you look? he asks. About what? she says. About Carolyn and her marriage to that strange man, he reminds her. Oh, Roger, we've been through all this, she says. When we first discussed it, you pretended to accept it, he says, but I know you're as deeply troubled by it as I am. YOU? she asks. Yes, me, he says, we've made so many mistakes in our own lives, and we prayed it would be different for our children. But we didn't succeed in making it different, did we? ask Liz ruefully. It can't be too late, says Roger. I don't know what to do anymore, sighs Liz.
We could look more into Jeb's background, suggests Roger. And then what? asks Liz--whatever we find out won't do anyone any good; Carolyn won't change her mind about him, and it will drive her further away from me than she is already. Do you honestly think he's in love with her? asks Roger. The point is, says Liz, Carolyn thinks she's in love with him, despite his strange behavior lately--something or someone is scaring Jeb, and Carolyn is being very protective about him. I gather you're talking about me, says Carolyn, interrupting their conversation. Yes, says Roger, we are. Stop being so concerned about Jeb and me, we will work out our own problems together. Then you ARE having problems, notes Roger. Coolly, Carolyn says, I don't wish to discuss it--Mother have you seen Jeb tonight? He went to the carriage house, says Liz. Carolyn starts to head out, but Roger stops her--it's late, you've been through enough tonight, you should rest. Carolyn gives her uncle a warning look; he stops, remembering his promise. Enough what, Roger? asks Liz. She's been through enough emotional strain, fabricates Roger--she should get her rest. I'll be back in a little while, says Carolyn, and leaves. I wonder why she won't confide in one of us--why? I wish I knew, says Liz, her face dejected.
Woods - Carolyn runs into Bruno and shrieks with fear. Where are you going? he asks To see Jeb, she says, and I will tell him about the incident at his house--I'm sure Jeb will demand an explanation from you. He isn't going to see you, warns Bruno--nor will you see Jeb. What do you mean?--what will you do? she asks. All right, I'll tell you, says Bruno--Nicholas and I warned Jeb we'd get even with him. "You two are working together," says Carolyn. Yes, agrees Bruno, and it's been decided the best way to get to Jeb is through you. Carolyn is horrified. Yes, without you, Jeb will have no reason to live, says Bruno. I don't understand, says Carolyn, shocked. And you never will, promises Bruno, "Because I'm going to kill you!"
You're insane! accuses Carolyn. I don't like doing it, says Bruno, but it must be done--he reaches for her throat--Jeb must be punished. He tightens his grip on her throat, strangling her, and she struggles--but not for long.
The werewolf appears and violently attacks Bruno. Carolyn runs off. The animal throws Bruno to the ground and, as Bruno screams raucously, savages him, we assume, to death.
10:50 - Collinwood - Carolyn races into the house, screaming for Liz and Roger--I saw Bruno attacked by the animal out in the woods! she cries. Roger runs out. Be careful, urges Liz, and turns her attention to the crying Carolyn. It was awful! moans her daughter, clutching her throbbing throat. Liz leads her daughter into the drawing room--everything will be all right, she assures her.
Woods - Bruno lies on the ground, bleeding, clothes torn, but still alive. Roger kneels beside him and looks him over--I'll try to get you a doctor. It's too late, says Bruno--that animal, he mutters, not really an animal... Before he can say more, he dies.
Liz paces the foyer. Roger, it must be the animal I've seen before, she says, but it's not an ordinary animal--it wears clothes and walks like a man! I've got the police combing the grounds, says Roger--how's Carolyn? I put her to bed, she says, and had Julia give her a sedative--you should go to bed yourself, you're tired. There's something I must do before I go to bed, says Roger--just something I promised Barnabas I'd do. He bids her good night. Liz, seemingly puzzled by his mysterious errand, goes into the drawing room.
Roger wends his way through old furniture and cobwebs in the east wing. He opens the doors and sees Bruno lighting a cigarette. Roger, unable to enter the room, is stunned to see a man he saw die a short time ago. Bruno! he calls. Bruno speaks to Angelique's portrait--you're still as beautiful as ever, he says--I remember the day you sat for this portrait, listening to the music I composed for you, the music that will keep your memory alive forever. Liz enters and icily asks Bruno, "What are you doing here?" Roger, watching, is absolutely amazed. You always did have a knack for showing up unexpectedly, says Bruno. Why have you come back? Liz asks angrily. I belong here, he claims. You're the only one who thinks so, he retorts. Wrong--she thought so, says Bruno, gesturing to Angelique's portrait. Quentin is returning soon and will never let you stay here, says Liz. I understand he's married, says Bruno. Yes, says Liz. Won't he be in for a surprise, predicts Bruno--do you think that she will let another woman come into this house?--she won't, you know that as well as I do. Why does everyone keep talking about her as if she were alive? asks Liz--it's frightening. Nothing was ever frightening about her, says Bruno--you were all envious of her because she was the most beautiful creature that had ever graced this earth. I think you'd better leave now, advises Liz. Fortunately for you, says Bruno, I have no desire to argue with you, so I'll see you around, my DEAR Elizabeth. She gazes hatefully after him, then stares at the portrait. Barnabas wasn't imagining things, says Roger, people like ourselves are living a completely different existence, here in this room--I must tell him.
Roger turns to go, then hears his own voice, inquiring, was that the temperamental boy wonder I saw leave the room just now? Roger turns back, fascinated. Yes, Liz tells PT Roger--he's come back. Back to compose more of his morbid music and bore us with his tiresome memories of her? wonders Roger--it will be worth it to see the look on Quentin's face when he finds out. Roger stares at his counterpart, flabbergasted, as PT Roger laughs.
NOTES: Rest in peace, Bruno, you're dead in RT, alive in PT, so we haven't seen the last of you, have we? I wasn't sorry to see that one die, he was pure villain and deserved being mauled to death by the creature he had kept prisoner more than once, and who he set up to kill Carolyn. Your plan backfired, Bruno, and isn't that tough?
Barnabas never saw a counterpart in parallel time, but Roger has, and the look on his face said it all. Angelique meant a lot to many men, it seems, but the women apparently despised her. Interesting, isn't it? How many men have we seen drink a toast to Angelique--and how many of them were welcomed into her bed, too? How loose was Angelique in PT?
You can feel Liz and Roger's frustration at being unable to help Carolyn, but how can she confide that a shadow is stalking her husband? Even at Collinwood, that would sound bizarre. It's obvious how very much they love her, and sad that she doesn't feel she can confide in them. They think it's Jeb, but if they only knew... Great scenes between them, touching. They want better for their children, but the supernatural specter that has haunted Collinwood for so many years seems to be taking on the new generation. I think Collinsport is located on a Hellmouth, just like BUFFY.
977 - Roger leads Barnabas to the PT room--how strange it was to see myself walking into a room, remarks Roger. I can't imagine, says Barn. Roger throws open the doors. The PT Roger, laughing, says, "Liz, that it's really too much."
I needed that laugh, says PT Roger, it will get me through the day. I don't find it the least bit amusing, says Liz tartly. Oh, but it is--the idea of Quentin and his new bride being greeted by Bruno--perhaps he'll even entertain her when Quentin is busy, suggests Roger wickedly. Disdainfully, Liz says, I don't find that amusing, either. Bruno is a brilliant pianist, says Roger, or Angelique never would have encouraged him. He gazes up at Ang's painting--her taste in music, as everything else, he adds, was exquisite, thanks to me. You won't stop deluding yourself, will you? asks Liz. It's no delusion, says Roger, Angelique and I shared something very special--our minds met and changed each other--yes, Angelique was my very own creation, that's why I understand her sending for Bruno. Sending for Bruno? questions Liz--Angelique is dead, she can't send for anyone. Chris enters--hello, Cousin, he says to Liz. Bruno is back, says Liz, if you haven't heard. I have, says Chris. You manage the estate for Quentin, says Liz, there must be some way of stopping Bruno from moving into the cottage. Moving in? asks Chris--I'd assumed he was merely passing through. No, says Liz, he plans to stay, says he belongs here. He never belonged here, especially not now, says Chris. You'll do something about it then, says Liz.
Of course, Chris assures her. Quickly, says Liz warningly--Quentin will be back with his bride soon! Roger laughs evilly--you make me laugh, Liz, talking so earnestly, trying to put together a plan to protect Quentin and his little bride from big bad Bruno and all the others--and it's all useless. Whatever you felt about Angelique, says Chris, you must remember Quentin is bringing Mrs. Collins back. Roger gazes up at Angelique's portrait, and repeats what Chris said--don't you realize that Mrs. Collins never left, not for a moment. Chris and Liz look at the portrait, too. Roger asks to be excused and exits the room, smiling. He walks toward Barnabas and Roger, standing out in the hall, seeming as if he's going to literally bump into Barnabas--and the room abruptly changes back to dark emptiness. Roger and Barnabas gaze into the room. I had the most incredible experience of my life, says Roger--imagine what it's like seeing another person with your body and face, but that person is completely different! In that other world, says Barn, you live a different life. The world of parallel time, muses Roger, which Stokes said was, up until now, merely theory--this proves it isn't--Liz, Chris, Bruno, myself--all of us are in it. Not quite all of us, corrects Barn. Have you ever seen yourself? asks Roger. No, nor have I ever been mentioned, says Barn, but I know my ancestor, who lived and died more than a century ago (make that two), is somehow involved in all this, but not the Barnabas you know, he doesn't exist in this room or what lies beyond it. Incredible! remarks Roger--Barnabas, what's the matter, you seem so far away. I suppose I was, says Barn, I somehow feel drawn to this room, as if they're waiting for me there. Yet you can't get in unless it's empty, points out Roger, you can't pass whatever that barrier is. Barriers have a way of being broken, don't they? he asks. Whatever you're planning to do, be careful, think carefully, warns Roger. I will, Barnabas assures him--someone is waiting for me in this time band, I must go. He leaves the room. Roger chooses to stick around a little while, pondering: Now all I can see is a dark room, yet somewhere, their other lives are continuing, somewhere, Roger Collins loves and hates, and longs for things I know nothing about.
Old House - Julia gives Barnabas an injection. There's something I should have told you, she confesses--this is the last injection I can give you--when we started, I realized your system had become immune to the formula that had been successful before, so I changed it, but now you've reached the saturation point--even just one more injection could destroy you.
Are you saying I can't be cured? he asks. We won't know that until dawn, she says hesitantly, fifteen minutes away. He looks out the window, dejected. Perhaps I was wrong, says Julia, to keep it from you. No, you were right, he says, a quarter of an hour is long enough to wait under the circumstances--if I had to wait any longer, I'd have been even more desperate. Suddenly gripped by pain, Barnabas says, something is terribly wrong.
Barnabas sits in his favorite chair while Julia takes his pulse. I've never felt this way before, says Barn, but I know I'm not cured. I'm sorry, says Julia. Help me downstairs, he asks. Of course, she says, and supports him, walking him toward the cellar.
Sabrina rubs her face, looking upset and distracted. When Chris returns home, she runs into his arms. You're free, and all right, he exults. Bruno is dead, she says. How did it happen? asks Chris. He slides her arms from around his neck and says, no, don't tell me, now I know whose blood this is. He would have tried to destroy you time and time again, says Sabrina--he had to die. But I didn't have to kill him, says Chris. If you hadn't, he'd have killed me, she reminds him, the police came to search Bruno's house and found me and Sky locked in there. I told the police I didn't know what I was doing there, that he'd asked her to come and when I got there, he locked me up--I said he was mad--now that you're back, we must start planning. Planning is for people who have a future, he says bitterly. We have a future, she insists--Bruno is gone, he can't harm us anymore. Now all we have to worry about, says Chris, is each other. He leaves the room. I've got to convince him, Sabrina tells herself, it's the only way he can be safe. Someone knocks. Roger is at door, asking for Chris--I want to talk to him--how is Chris feeling? Not very well--he had a bad night, she says, I was here, looking after him. Yes, says Roger, I imagine he did have a bad night, but I still want to see him. Chris comes out. Can we be alone? asks Roger. Sabrina leaves the room. You look much better, comments Roger--I'm glad of that. They sit at the table. I was feeling guilty because I couldn't get you medical help, explains Roger--I would have, but then all of a sudden, you were gone from the room, it was incredible. I don't remember leaving or getting here, or what happened, says Chris--I presume Bruno must have drugged me in some way. Do you know why Carolyn was there? asks Roger. I don't know, says Chris. Bruno can't help anyone, anymore, says Roger--I suppose you weren't entirely displeased he was killed, the way he treated you? I'm never happy to hear about anyone being killed, says Chris. Horrible thing, says Roger, he was killed by an unnatural animal. Sabrina told me, says Chris. I'm glad you're feeling better and that you had a devoted nurse, says Roger--I think I'll get an answer to this, perplexing as it is, even though Bruno is dead and gone. Roger leaves. Sabrina joins Chris. That man knows something, says Chris. He knows strange things have happened, she assures him, but he can't know you're a part of it. Why not? asks Chris. He wouldn't have just walked out of here, she says, he'd have made you leave Collinwood. I don't know, says Chris, but I will find out, or someone will, someone far less considerate, who will bring the police. There's the chance of a different future, says Sabrina--if you marry me.
We can't even think about that, he insists. We can, she says--most of the time, we can live like any other married couple in love. And, says Chris, when the moon is full? I thought of that, too--we'd have a room in the house where I could lock you, look after you, could make sure you don't harm yourself or anyone else--we'll keep looking for a cure and will find it. Chris bursts into bitter laughter--Mr. and Mrs. Christopher Jennings in a home with their vine covered cell. Don't be cruel to me, she begs. NO! cries Chris, marriage is out of the question--death would be too close to us, constantly--we are not going to get married. He leaves the cottage.
At the Old House, Julia wonders and worries what happened to Barnabas just before dawn. She stands at the cellar door. Will he be all right when he rises? Or will he rise? she asks herself, tears in her voice. She hears footsteps coming up the stairs. Barnabas opens the door. How do you feel? asks Julia. I've never felt the need for blood so much before, he says. Julia is alarmed. I'm afraid, says Barnabas, I feel out of control--you've got to do something at once. I will, Julia assures him. There's no time! shouts Barnabas--never before have I felt such a creature of the night--I cannot help but destroy or be destroyed. He bows his head. Julia looks helpless and miserable at her own impotence to help him.
Roger and Julia stand in the dark parallel time room. I didn't believe Barnabas at first, says Roger, but now I have proof--you can't imagine what it's like, seeing yourself in another time band. Julia, distracted, asks what? Perhaps you aren't interested, he says--what's the matter? Nothing, she says unconvincingly. What are you thinking? he demands. Liz interrupts them-- what are you doing here--I looked out the window and couldn't believe what I saw--lights in the empty east wing--what are you doing here? Looking around, says Roger evasively. There's nothing to see, says Liz--or is there?--there must be something very special in the east wing, because everyone is suddenly very interested in it--and she wants to know what that something is. Very well, says Roger, I'll tell you, but you will be stunned, as I was.
Desperate for blood, Barnabas realizes--I must go out, down to the docks, anywhere... Someone knocks at the door. He looks out the window--it's Sabrina--I can't let her in!--she'll go away if she doesn't see me. Sabrina, however, opens the door and lets herself in--Barnabas?--I could have sworn I saw you at the window. He hides from her. She continues calling to him. Figuring he went upstairs, she goes to check, calling his name. He exits his hiding place and goes into the drawing room. You startled me, says Sabrina. I'm sorry, he says. I want to talk about Chris, she says, you're the only one Chris will listen to--"I want to marry him," she says--"Don't turn away, it's not as crazy as it sounds--I love Chris, the way he is, and no matter how he has to live, I want to live with him." No matter what HE is, says Barnabas to himself, no matter what I am, we must live with it, there's no choice anymore. And if we're married, says Sabrina, I can protect him--he will be safer with me, Barnabas, please help me convince him. Barnabas? she says, suddenly realizing his face has turned evil and cruel.
She is quickly silenced, however, as Barnabas, the blood lust overpowering him, plunges his fangs into her jugular.
Sabrina returns to the cottage, walking unsteadily, a scarf around her throat. I was worried about you, says Chris. I went for a walk, she says, I wanted to think. No use thinking about us, protests Chris. She starts to faint; he helps her to sit down. What's the matter? he asks, and finds the vampire marks on her throat.
NOTES: Sabrina loves Chris so much, she's willing to live with him as is. Everyone has their problems starting out in marriage, but is she crazy, or crazy in love? Would you do it? One can understand why Chris is reluctant, but how can he turn away a woman willing to sacrifice so much for him?
Poor Barnabas, that last injection of Julia's increased his blood lust to never-before-felt levels. He would never have attacked Sabrina unless the need was crucial, undeniable. I feel terrible for both of them, and for Chris, too, making such a grisly discovery. Where will this tragedy end?
Julia's expression when she realized that her injections seem to have had the opposite effect on the man she loves was so sad. I wonder why they didn't work this time? Is Jeb's curse so different from Angelique's?
Now Roger, Liz, Julia, Stokes and Barnabas all know about the parallel time room. Will one of them end up in that world?
Love, Robin
