Willie nervously returns to the Old House, preceding Barnabas, who, when he comes in, wants to know what happened with Burke and Vicki. "You've lost her," insists Willie, who is sure the two will marry. Oh, no, says Barnabas, that's one wedding that will never take place: "There will be no marriage," vows Barnabas, "Devlin won't live to claim Miss Winters as his bride. Burke Devlin must die!"[/spoiler]
Vicki asks Liz why she offered her the position--she's never seen her before. Does it matter? asks Liz. I'd like to know, says Vicki. Simple enough, says Liz--my brother knew someone in the foundling home where you worked--he asked for a recommendation. But I asked--they said they'd never heard of you, says Vicki. You must have asked the wrong person, says Liz smoothly.[/spoiler]
Adam is very weak, moaning feverishly. Nicholas hears a knock at the door but is loath to leave Adam. He decides to see who it is, and closes the living room doors before admitting Julia. He tells her it isn't a good time, but she says she has come to save Adam, so he'd better let her in. He drops his barring arm and admits her, confessing that he was wishing there was someone he could call--Adam isn't well, although he isn't sure how she knew that. Julia tells him they must be very honest with each other. He says he'll enjoy being honest with her. He leads her to Adam. She looks him over. "Help me," the big guy whispers. She assures him that both she and Nicholas will help him. He tells her he has no healing powers (what about Carolyn?), but she says he has knowledge. Is that better than medicine? he asks. In this case, yes, says Julia--where is the coffin? she asks. He smiles, "The coffin?" She asks where Angelique's coffin is, but he pretends he knows of neither coffin nor Angelique. She gets annoyed--there is one way to save Adam, and that's what Nicholas wants, and she wants to save Barnabas, if possible--you must go to that coffin, says Julia, and I have the instruments that will make both healthy again. She places a stake on the table.[/spoiler]
Jamison tells Trask, I don't like you, and I don't want to pray with you, either. Trask, furious, suggests Jamison is doomed to grow up and become a disappointment to his father. I won't, says Jamison. You're disappointing him now, says Trask. I'm sure my father loves me, says Jamison. Does he? asks Trask. Your father is very worried about your soul. And with some reason--you must be saved! Do you want to be saved? YES! Clamors Jamison. Then I can help you, says Trask, pushing Jamison to his knees and assuming a praying posture.[/spoiler]
All of Grayson's scenes with Humbert were so good. Even the one from 1897 where she made a big flub but neither of them hesitated or lost their concentration in the scene for a moment. Two superb actors!
And this one had very good dialogue for both. The kind of scene that non-fans often find baffling if they stumble over it. But of course that leaves more for us to love!
Liz assures Carolyn that Willie won't bother her again. When is he leaving? Asks Carolyn. Soon, says Liz. What does that mean? asks Carolyn. In a few days, a week possibly, says Liz. A week? Asks Carolyn, dismayed. That isn't very long, says Liz, and if he stays away from you... I thought you were going to order him out of the house! says Carolyn, today! I can't do that, says Liz--Willie is a friend of Jason's and Jason is a friend of mine. I thought Jason was a friend of my father's, says Carolyn. Of mine, too, says Liz. He must be a very close friend, says Carolyn accusingly. He is, agrees Liz, not looking at her. You seem to be willing to do almost anything for him, says Carolyn. I owe Jason a favor, says Liz. Why? asks Carolyn. He was very good to me at one time, says Liz, when your father deserted me, he was a great comfort to me. And that's why you're letting Willie stay? asks Carolyn. Yes, says Liz, rising from her chair. And that's why Jason's here, says Carolyn. Yes, says Liz. It doesn't make sense, says Carolyn[/spoiler]
Barnabas! says Eliot--in heavens name, Julia, why didn't you take my advice and leave? We're not leaving until certain things are explained to us, says Barnabas--we were at Collinwood, earlier. I must warn you, says Eliot, you must stop going there--your lives are in danger. We already know that, says Julia. Something happened to you there? asks Eliot. Yes, says Barnabas, we saw the face of a man in the living room window.[/spoiler]
Aristede drags Amanda backwards and turns on the light. He draws out his Dancing Lady knife and warns her, if you make one sound, you're dead. She agrees to keep quiet. Who are you, she asks--what are you doing here? All unimportant, says Aristede--but you must know what I'm doing here. She denies that. Tell me where it is, he demands, if you want to save yourself a lot of misery. I don't know what you mean! she wails. "The hand, Miss Harris, the hand!" he says. She has no idea what he's talking about, and when she tells him so, he accuses her of lying and hits her, knocking her down. I intend to get the information from you one way or another, he warns, so make it easy on yourself. Holding her hurt cheek, Amanda suggests, you're a lunatic! No, just very determined, he says[/spoiler]
I'm really appreciating how you're highlighting characters and storylines which do not always get the attention they deserve in this series!
MB, I MUST say I love the theme of your new show!
I'm really appreciating how you're highlighting characters and storylines which do not always get the attention they deserve in this series!
Barnabas is very charmed they've come, and admires Megan's locket. Philip explains that he found it in an odd lot he bid on at an auction. Barnabas asks if he knows the meaning of the symbol--it's the sign of the Naga, the creature without a soul. Megan says she isn't sure she likes that. don't worry, says Barnabas--the same sign is carved on that box over there. Megan goes to check it out, as does Philip, who says he's never seen one like it. It must be incredibly old, comments Megan, and Philip can't guess what country it's from.[/spoiler]
I hope my favorite Barnabas "Yoda-ism" from episode 279 shows up. It must!! (Maybe it's my second favorite of his lines overall.)
In the drawing room, Cassandra stares at the fire and thinks about time not being on her side. She wonders why she failed, and vows that whoever it was that interfered, "He will pay". David, who's been standing next to her, asks who will pay. She accuses him of sneaking up on her, but he changes the subject--he wants her to show him how to use the tape recorder Dr. Hoffman gave him. She's complains that she's too busy, isn't good with mechanical things--and has a headache. He leaves, pouting that everyone's always too busy for him. Alone again, she thinks about how she must find out what went wrong before Nicholas finds out. She thinks of the "bargain" she and Nicholas made (what the heck was that)? She must win, and Barnabas must DIE![/spoiler]
Another great photo! Our Favorite Witch is in deep doo-doo! Not only has she seriously irritated Nicholas at how she's degenerating into an incompetent suburban housewife, she's in grave danger of winning the Collinsport PTA's annual booby-prize for Worst Step-Mom of the Year!
says Liz--what are you doing with Miss Winters' letter? I rescued this from David, says Roger--you'd think that sheriff would have something to report by now. What would David want with it? asks Vicki. Just foolishness, that's all, says Roger--his latest is that he thinks I want to send him to jail. Vicki reacts. I'd keep this under lock and key if I were you, advises Roger--if it's important to you. Hasn't Mrs. Stoddard spoken to you about it? asks Vicki, surprised. No, replies Roger. Liz rises from the chair and says she thinks they should have this discussion later. But I want... begins Vicki, but Liz pushes her to the door, insisting later--go upstairs and finish David's lessons. Liz ushers Vicki out and closes the doors. Roger says he must admire her, she really has a neat way of managing people. I hope I can do as well with you, she says in her grande dame way.[/spoiler]
For those who haven't heard it, there's a pretty cool interview with Humbert you can listen to on the Collinsport Historical Society site. He only discusses DS at the very end of the interview. He explained there that Dan Curtis liked him so much when he read for some role or other that Dan had the character of Nicholas Blair created specifically for Humbert.
He lies down on the bed, drifts off to sleep. He dreams: Carrie calls in to Gerard--there's the nicest man to see you--he says you expect him. Gerard answers the door to a bearded man portrayed by none other than Humbert Allen Astredo. Carrie leaves. I wasn't expecting you, says Gerard--what do you want? Surely you must know who I am, the man says--you must have been expecting me, you would have been very foolish not to--this isn't the time for games you know, and you've been playing a game, a most dangerous game, though of course sometimes they afford the most pleasure. What do you want from me? asks Gerard. I don't want anything from you--I was sent to give you something--THIS! He holds up the Judah-in-the-box. Disgusted, Gerard closes the door on him. The man knocks and knocks.[/spoiler](http://www.dsboards.com/epimgs/1141-4.jpg)Gerard awakens from the dream to real knocking-- Carrie, who says, there's the nicest man to see you--he says you're expecting him. Gerard, terrified, looks around the room and answers the door. The same scene is played out as in his dream, word for word. And, as in his dream, the man holds up the head of Judah Zachary that he thought he'd sent tumbling over Widows' Hill!
They enter the mausoleum. You promised to take me someplace I couldn't get out of, Chris reminds him. "I did" Barnabas assures him. Looking around, Chris advises, kill me tonight--the gate won't hold me after the transformation. But this door will, says Barnabas, opening the secret panel, showing Chris the room with the coffin.[/spoiler]
Barnabas tells him this room was originally a storage room for ammunition during the Revolutionary War. When Chris asks how he knows about it, Barnabas replies, "I am a Collins, I know a great deal about my family history," as though that's more than enough explanation. (I loved the grand way he said it, too.) Chris points to the coffin--it must have had other uses after the war, he observes. "Yes," says Barnabas, but doesn't elaborate. The coffin is empty, says Barnabas, but I don't know where the body is. Do you know and just don't want to tell me? asks Chris (sharp guy). Barnabas suavely changes the subject to the reason they are here. Why are we here? asks Chris. To prevent you from doing further violence this night, replies Barn. Why are you helping me? Chris asks gently. Barnabas softly responds, "Because I want to help you." Chris feels there must be more of a reason why he's willing to take the risk. Because I know you aren't responsible for what you do after the transformation, Barn answers.
Drawing room, Maggie looks out the window and remarks to Barnabas, you must be able to read minds--you knew exactly what I was thinking--you were right--I didn't want to wait for my husband alone. His face very close to hers, Barnabas says, if I hadn't been here, someone else in the house could have kept you company. I don't think I would have felt as comfortable with them, she says. I find that hard to believe, says Barnabas--after all, you've known me such a short time. Actually, she says, smiling, I've spent little more time in this house than you have, and strangely enough, I feel I know you better than anyone else--except Quentin, of course.[/spoiler]
Quentin has the cane--and the clay doll. Yes, Jamison, he says, we're ready--Barnabas deserves what he will get--I must fight him in any way I can--do you understand? I really think so, says the boy. Quentin takes a pin and starts to aim it toward the clay figure. Yes. . .yes, he says with satisfaction.[/spoiler]
He advises Sam and Joe that the public should be led to believe Maggie has died; he will fake both death certificate and funeral. He's going to send Maggie to a facility run by a Dr. Julia Hoffman, who is already interested in this case, so only she and the three of them will know the truth.[/spoiler]
I am loving the picture quotes with the word “MUST.” That’s probably as oft-repeated as “I don’t understand,” or an actor repeating the last word of the previous actor’s line.
In her simple room, Barnabas asks Vicki where her luggage is, but all she's got is the Collins family history book--and she doesn't know how it or she got here! Barnabas calls her strange. This must be a nightmare, she says helplessly, shaking her head. He explains the Collinses have been called many things, but not the most nightmarish people in the Province of Maine. PROVINCE? wonders Vicki. He leaves her alone, suggesting she rest. All Vicki can think is that she's having a dream from which she can't awaken.[/spoiler]
Just as Barnabas opens the door, David wheels in. Barnabas, surprised, asks what happened. "You!" says David, noticing Jeb. Yes, me, says Jeb--welcome! Why did you want to hurt me? asks David--"Barnabas, he's the one-I was on my bicycle and he jumped out of the bushes!" Nodding at David's cast, Barnabas demands, "You are responsible for this?" Yes, says Jeb, stopping when he realizes Barnabas is about to leap at him. "I can do what I want now," brags the Leviathan brat, adding, "David must understand that I can be cruel as well as kind." "THERE WAS NO NEED FOR YOU TO HARM THIS BOY!" cries Barnabas. Jeb smiles directly at David and says, David and I will be very close, just as we were when I was Michael and Alexander--it's important David understand this, very important. David's eyes are locked with Jeb's.[/spoiler]
Adam asks Harry to deliver a note to Carolyn for him. Harry remarks that Adam really DIGS her, but Adam insists she's only a friend. What about Eve and Nicholas? asks Harry. Adam sternly tells him Nicholas must not know about this letter[/spoiler]
Nice to see Robert Rodan and Craig Slocum featured today.
he must do everything Nicholas tells him-he doesn't know why, but he must obey him.However, when I went to the actual ep to get a screen cap for the slideshow, what Harry really says is, "I gotta do everything Nicholas Blair tells me to do-I don't understand why, I-I just know I have to obey him." Definitely not a "MUST" quote. But I still wanted to have Harry involved in some way in today's installment, so I checked my list for possibilities in eps around Ep #612 and came up with Adam's quote from Ep #609 in which he's speaking to Harry and both of their faces can be seen on camera. Not having the character's face on camera when a quote is spoken isn't something I want to feature in the slideshow. As I've said, I already skipped a quote from Ep #807 because of that type of situation. And I've also selected a different quote for tomorrow for the same reason.
I won't give up, she vows. Good, he says. I know, whatever happens, I have to stay in that house--I owe it to Mr. Malloy--you know I feel more than ever that the key to his murderer is somewhere in Collinwood. I know, says Burke--it's somewhere in that house--by the way, don't call me from Collinwood, it's too risky--no one must know there's ever been any connection between you and me. Somebody in that house already does know, she tells him. What? asks Burke.[/spoiler]
And I've also selected a different quote for tomorrow for the same reason.
Collinwood drawing room - Joshua tells Abigail he's had Ben locked up for stealing, but Abigail fears the witch. He was stealing her black hair ribbon, a personal item that could easily be used to cast a spell! Joshua is disdainful, but his sister begs for his help and says they must search for her at the Old House. Joshua says they will NOT set foot in that house; he might see Barnabas (which seems to scare him far more than any witch)![/spoiler]
Quentin and Beth kiss with great passion. They're in his room, where she tells him she must leave--I've been too long already and I'm afraid Judith will start asking questions. (It's a safe guess they just finished making love, her payment to him for keeping Jenny safe.) What would you do if that happened? He asks. Beth fixes her hair in the mirror and says, I don't know. Tell her we're in love with each other, he suggests. "Could I?" she asks (such hope in her eyes!)--"It's a very casual kind of love, isn't it?" she says. He tucks his hands in his pockets and says, I could tell something was wrong with you this evening. Not something, everything, she says--I feel a sense of hopelessness--I want to think we have a future together, but we can't as long as you're married to Jenny. We've been over this before, he says impatiently. Yes, but we haven't settled it yet, she says--sooner or later, we must. Jenny is stark raving mad, he reminds her. Yes, but still your wife, says Beth. When the time comes, he says, when I can approach Judith with the subject, I'll have Jenny committed and the marriage annulled. Are you sure it can be? Asks Beth. With the Collins money and power behind me, anything is possible exults Quentin--we must approach Judith at the right time--be patient, I promise you won't regret it--"I love you very much," he says, kissing her.[/spoiler]
Samantha watches Gerard pace back and forth in Daphne's room. You are against Quentin, aren't you? she asks. Yes, he grins. That also means you're against Tad, and that's why I won't cooperate with you, she says. No, you're wrong there, he says, I'm quite fond of the boy, and he of me, oh, Samantha, he says, sitting beside her on the bed, don't you think I understand why you're against Quentin, why you've been miserable all these years? She looks at him, her defenses breaking down--I can't believe anyone knows what a living hell it has been in this house, she says--I've never been loved, not by Quentin--do you understand why I must get even with him for all the misery he has caused me? Of course I do, Gerard assures her, and that's what I'm trying to tell you--I do understand.[/spoiler]
Jason protests to those assembled that Liz is sick, insane, hysterical. Carolyn, in disbelief, can't believe what her mother had said (although Miss Stoddard herself was ready to commit murder, and Liz saved his miserable life with her confession). Vicki urges Liz to tell the entire story, but Roger wants to call in Frank Garner before his sister utters another word. Paul insists Liz needs a doctor, not a lawyer, she's ill! Liz insists on telling the whole story, particularly to her daughter. Judge Crathorne wisely departs, since he might well be sitting in on this criminal case and asks Liz to let him know if there's anything he can do to help. Carolyn, devastated, confesses that she was going to kill Jason[/spoiler]
Jeff describes his dream and how Lang was his beckoner, yadda yadda yadda. Jeff feels he would been decapitated, had he not awakened (pity he did), by the guillotine. Jeff feels relieved for having told Lang. He HAD to tell Lang and no one else, Maggie told it to him, exactly the same dream, with only one door. He got to two. The third door, says Jeff, grinning, must be yours. Lang looks solemn.[/spoiler]
Angelique! protests Hannah. Don't call me that, warns Angelique, even when we're alone--my name is Alexis. Hannah looks away. Burn or bury the body, orders Angelique--if you don't, you, too, will feel the terrible cold of the grave--your choice. Suppose someone saw me bringing him here? asks Hannah, terrified. Then you'll tell them he has left, says Angelique coldly--he was a loner, a drifter, anyone who knew him will simply think he's gone on his way. Will they? Hannah asks. If you answer their questions correctly, yes, says Ang impatiently--"I never knew you were such a coward!" She turns to go. Don't leave me with him, begs Hannah. But I have to go! insists Angelique.[/spoiler](http://www.dsboards.com/epimgs/1004-1.jpg)Don't you ever come to me again, commands Hannah; I will do this thing because I must!--but you will need warmth again--I want no part of it. My dear Aunt Hannah, taunts Angelique, picking up a crystal ball, you were always so fascinated with communicating with the dead, through the Tarot, seances, crystal balls--and yet now you have me, and suddenly all your curiosity has turned to terror--have you learned that the dead are not to be trifled with?--I hope so.
Philip arrives at Collinwood, looking for Michael. I thought he returned to the antique shop, says David. Has he come back here since then? asks Philip. Not that I know of, says David. Philip ushers David into the drawing room--I want us to have a talk--first, has Maggie been found? No, says David. Philip grabs him, sits down on the sofa and holds David's arms. You must not be protective of Michael now, warns Philip--I don't care what he says to threaten or intimidate you[/spoiler]
Sit down, says Morgan--I must warn you. About what? she asks. You will feel impelled to ask questions, and I must ask you to refrain from doing so, at least until tomorrow, he says. I'll do whatever you ask me to do, she says. As the oldest son, I've inherited certain responsibilities, he says, one of these is most serious, and must be carried out this evening--I want you to promise that if anything happens to me... Happens to you?--what? she asks, concerned. I didn't mean to put it that way, he says, what I'm trying to say is, if I act any different tomorrow, you must not marry me.[/spoiler](http://www.dsboards.com/epimgs/1201-2.jpg)She regards him with shock.
Not marry you? she asks--why should you be any different tomorrow than you are tonight? You promised not to ask any questions, he reminds her. Are you in some sort of trouble? she asks. Of course not, he says. But you're so distressed--I want to help you, she says. There's nothing you can do to help, he says, if there were, you know I'd let you know. But you can't keep me in the dark like this, it's not fair! she protests. Catherine! he says, you must not ask anymore questions. You're going to tell me what's wrong before I leave here tonight, she insists. You're a very strong-willed young woman, he says, very well--he sits her down--you're going to know sooner or later, I might as well tell you now.
Joe comes to Collinwood, bearing papers from the cannery. Carolyn tells him Frank and Dr. Guthrie have gone for a walk around the grounds, but should be back very soon. I guess I can find them, says Joe. I don't think so, she says--you might be walking in opposite direction and never even know it. Did they say where they were going? queries Joe. No, she says, but you can wait for them here. I'd leave the papers here for him to sign except that I'm supposed to get them back to the office as soon as I can, says Joe. Then you might as well wait in the drawing room where you'll be comfortable, she suggests, and he enters the house and follows Carolyn into the drawing room. She tosses the papers on the desk and asks how he's been. OK, he says, you? Not so hot, she says. I can imagine, he says, how's your mother? Improved--but not very much, she says. I'm sorry to hear it, he says,. They still won't let me see her, says Carolyn. That must be kind of rough on you, he says. I'm used to feeling kind of bad, says Carolyn, but always before, my mother was here, I always had someone I could turn to.[/spoiler]
When it comes to David Henesy it's interesting that he appears in three of the slideshow's screen caps so far* this month (tying Jonathan Frid)
Madame F suddenly screams. Stokes tells Liz she's trying to reach her control, her guide to the other world. Madame F calls out, "Are you there? Can you tell me the secrets of this house? Are you there? That's not you." Someone else is answering her, says Stokes. Findlay continues, "Who are you? I cannot hear you plainly. Are you in this room? If you are in this room, speak to me more clearly. You are not in this room, but you are in this house, yes!"[/spoiler](http://www.dsboards.com/epimgs/0647-4.jpg)David and Amy exchange scared glances upon hearing this. "I must come to you. I must find you!" Liz calls to Madame F, who begins to toss her head from side to side, declaring, "A battleground--this house is a battleground! Yes, I see that. . .whom are you fighting? Lead me to the room, lead me!" Madame F rises from her chair, but whoever she was speaking to has disappeared. "You must show me!" Stokes asks her if she's all right, and Liz notes she isn't coming out of it. Stokes pats Madame F's hand and says, "The fight goes on between them." She doesn't know who is fighting, but will when she goes into that room. Stokes asks Liz if the woman can search the house. Of course, says Liz. Stokes takes his leave, and Madame F. tells Liz there is much happening in this house (Well, duh.)--much that Liz doesn't know--a war is being waged and they must find the one who started it.
He hears a woman's voice calling his name: "Matthew! Matthew! Matthew!" Who's that? he asks the air--who's there? The female voice continues to call to him, over and over, echoing, and he screams out, "Who's there?" He stands, goes to Vicki, takes off her gag and demands to know where those voices are coming from. What voices? she asks, I didn't hear anything. Voices calling to me! cries Matthew--you heard 'em, you must have! I didn't hear a thing, she assures him. You're lyin' to me! he accuses, but she tells him she really didn't hear anything. T'wasn't just my imagination, he says, someone's out there, callin' to me!--you make a sound, I'll kill ya, ya understand? And he takes her throat in his huge hands to tell her he means business, scaring her.[/spoiler]
If you'll all sit at the table, I'll turn out the light, says Guthrie. He closes the double doors and turns out all the lights, then turns on the recorder. How very restful, remarks Roger. Make yourselves as comfortable as possible, advises Guthrie. He sits across from Roger. Vicki and Carolyn face each other. Our object here tonight, says Peter, is to summon the ghost of Josette Collins--now we're all reasonably certain that she's been trying to communicate with us (Vicki looks nervous)--now we feel if we can create the proper atmosphere and right state of mind, that she will come into this room and speak to us--she might either appear to one of us or use one of us as a medium, to speak through. Well I certainly hope she uses you, doctor, it will be something to remember, hearing her voice coming out of your mouth. (LOL!) Mr. Collins, says Peter sternly, if you want to make a joke of this, I'd be very grateful if you'd leave the room now. I'm sorry, says Roger, please proceed. Thank you, says Peter--now, let's place our hands flat on the table. (We get an overhead view.) Spread your fingers and make a circle of the fingers by touching the fingers of those next to you. We must keep this circle unbroken at all times...that's good--now the electricity of thought has been set in motion so that if will flow through us, making our minds as one--let us begin to concentrate--we must repeat over and over in our minds, "Josette Collins...Josette Collins...Josette Collins..." Thunder rolls. Everyone concentrates.[/spoiler]
Great shot today! Wonderful work, MB!
I wonder if they had to build some kind of platform to achieve that shot. Those cameras were huge and heavy, as we all know from the times when they'd accidentally show up in a shot.
Then everything Burke says was true, says Maggie, he wasn't driving that car. No, admits Sam. And Roger was, says Maggie. Yes. And you saw that accident? Yes, says Sam, I was out for a walk, a car was coming down a highway, it was driving very fast, swerving all over the highway, so I knew whoever was driving had to be drunk. Then the man appeared, he was walking down the highway, the car swerved and hit the man. It all happened so fast, I didn't even have time to cry out, I couldn't warn him! Then, says Sam, the car stopped for just a fraction of a second, and drove on, but in that second, I saw Roger behind the wheel--it was Burke's car, Roger was driving it. He didn't get out to help that man? asks Maggie. No, says Sam, there was nothing he could do--the man was dead the minute he hit the pavement Awful! exclaims Maggie. Roger must have seen me, says Sam, because he came to the house the next morning and offered me 15 thousand dollars for the paintings. Neither of us mentioned the word bribe, but we both knew that's what it was.[/spoiler]
Great shot today! Wonderful work, MB!
Natalie asks Josette if she left the house voluntarily the previous night. Josette denies being with anyone. Why did you go to the Old House? asks Natalie-there is nothing but tragic memories for you there. That's not completely true, says Josette-not anymore. What caused your collapse? asks Natalie--why were you calling for Barnabas?[/spoiler](http://www.dsboards.com/epimgs/0425-2.jpg)You wouldn't understand, says Josette softly, noticing that her ring is missing. Her agitation ignites Natalie's; her aunt realizes the prophecy is starting to come true. I must go to the Old House to look for my ring! declares Josette, climbing out of bed--Barnabas will expect me to have the ring. This statement horrifies Natalie, who tries to stop her. They struggle, overturning a small table, breaking the lamp that was on top of it. "The sound of glass shattering," remembers Natalie, who glances at the sky and is aghast to see storm clouds beginning to gather, obscuring the moon.
Julia stands in the woods, looking like a woman who has just had the most erotic experience of her life. Tom circles her, asking if she's sure no one knows where she is. Yes, very sure, she says. He tells her she now knows she must come to him here, every night. "Yes," says Julia happily. She must tell no one, he says, and tells her to return to Collinwood. Eagerly, she tells him she will stay with him, if he wants her to, but he says no, if she's gone too long, it might arouse suspicion. Reluctantly, she leaves him. He gazes after her, pleased.[/spoiler]
On the ancient phone in his room, David asks Quentin if he hurt Chris--"You mustn't hurt him!" David asks Quentin why he won't talk to him, but the ghost is apparently peeved.[/spoiler]
Judith and Barnabas enter the study to see Edith. My grandmother will always be alive to me, says Judith--I wish you had known her; your life would have been enriched. Barnabas murmurs agreement. Edith raised us when our parents died, explains Judith. Barnabas comforts her. She loved us all, even Quentin, says Judith--"I suppose I must look at her, mustn't I?" she asks Barnabas. Yes, he says, leading her to the coffin. She gazes at her grandmother.[/spoiler]
He opens the door--who's there? he asks. He hears leaves crackling, and finds Sabrina standing there, a package in her arms. I look different, don't I? she asks him--older?--I was afraid you wouldn't want to see me--you never came to me. You know why! cries Chris. I told no one your secret, she assures him. Maybe you should have, gone to the police, says Chris--you know what's going to happen tonight! She gazes down at the box in her arms and enters the cottage. What do you want? he asks. I've often tried to picture where you live, she says. Go back to your hotel, he orders. We loved each other, she reminds him. I'm the reason you are what you are, he says, the reason your hair is white, the reason you couldn't talk. That's over now, she says, I've forgotten about those years, and so must you. (generous gal) I can't--ever, he says. She hands him the box--please open it, she says. He does so, and finds a flower inside. "It will bloom as the moon rises," she explains--it may save you, Chris--I read of it--the moon poppy--you must take and eat the flower. Only a legend, he says. No, it isn't, she says--I found a journal, a new one published in England, a study of lycanthropy, which told of someone being cured--I wrote the author--he sent me this flower, which he raised himself--it's the only one left he knows about--Chris, please believe in it! He thinks it over, holding the flower. You say it's a legend, but you're holding the flower in your hand, she says, can't you believe anymore? What if it's a fraud, the man a fool? asks Chris. Believe, she tells him, believe--if you eat this flower when it blooms, you will never become that thing again-- but you must eat the flower when the moon is shining--at dawn, the flower will die.[/spoiler]
We see the portrait of Angelique fade into the face of Alexis, who is admiring her dead sister's room. "It's exactly as you left it," says Hoffman hoarsely, "nothing has changed." Alexis gazes at her and asks, what are you talking about?--I've never been in this room before.[/spoiler](http://www.dsboards.com/epimgs/0985-3.jpg)Hoffman confidentially assures her, I understand about telling everyone you're a twin sister. But I am Angelique's sister, insists Alexis. Hoffman shakes her head--you don't have to lie to me--I always thought Angelique would come back... Alexis interrupts her--you thought Angelique would come back--that's impossible, she's dead! She is not like others, says Hoffman coldly. She certainly wasn't like anyone else, says Alexis--nevertheless, she is dead, do you hear me, she's dead, and I'm her sister--now if you would get me a nightgown, please, I'm very tired. Hoffman gives her a look, says "Certainly," then asks, which one would you like? I really can't answer that question, can I? she asks, I've never seen any of them--pick one out for me. Hoffman says of course, I'm sorry, Miss Stokes, if I said anything... It's all right, says Alexis, I understand how much you must miss her, but I wouldn't intimate such a thing to anyone else if I were you--they might be very distressed by it--and so might you. Hoffman gives her a weird look, then opens the closet and takes out a pink nightgown with furry shoulders. This was her favorite, she says. Thank you, says Alexis, it's lovely. Hoffman drapes it over a chair, gives Alexis one final look, and leaves. Alexis gazes up at Angelique's portrait.
Daphne, now wearing a red dress of Vicki's, paces at Rose Cottage. She's placed Quentin's picture on the table and picks it up, exulting in the forgotten feeling of being alive--of having hope, of love--oh, Quentin, can there be any hope for this love of ours?--or must we be forever apart?--oh, Quentin, Quentin! (she's taken the bows from her hair, too.)[/spoiler]
Roxanne implores her brother to let her get into her coffin, but Randall says he cannot--this is the only way she will find peace. Sobbing, Roxanne begs him to let her get to her coffin, but he says he can't until the sun comes up--and it's all over. Let me live, I don't want to die, she cries, not like this, oh, please don't do this to me! I must, he says, it's the only thing I can do, after what I've seen here tonight, I can't let you go on the way you are! I'm not responsible for what I've become, she wails, Randall, I can't help myself! He asks her who is responsible for making you this way, tell me! he says. There's no time, she says, please, don't put me through this torture! I must, he insists, I must, there's an innocent woman dying in Rose Cottage, the only way to save her...[/spoiler]
Bramwell comes running in, looking like a little boy on Christmas day. He races to Daphne's bedside--it's happened, he exclaims--my ship has come in and we're rich! I'm so happy for you! she says, her face lighting up. Everything is going to be so different now, he promises, holding her hand, kneeling beside her--I know I haven't been a very good husband, but I've done a lot of thinking on my way back here, and everything will be different--we'll travel, you'll have everything you wanted in life. Daphne looks at his joyous face--I always wanted to hear you talk like that, she says. You don't seem very excited, he notes. I am, she assures him.[/spoiler](http://www.dsboards.com/epimgs/1232-3.jpg)Something is wrong, he says--you're pale and have a fever. It's nothing, she assures him, holding his hand, the doctor was here and he said I'd be all right in a few days--hold me, Bramwell, please, hold me in your arms. He does, tightly--nothing must ever happen to you, he insists--nothing.
Blair asks Vicki if she's from Collinwood. No, I'm not from Collinsport, she says, but I work there--at a house called Collinwood. (He made a blooper.) Collinwood? he asks--I didn't know Mr. Devlin was friendly with anyone from that house--I only know Mr. Devlin in a business way. What business are you in? she asks. I have an interest in several business--jack of all trades, he says--would you excuse me if I sign some of these contracts. Vicki notices that he's signing with an exact replica of the pen she lost. Noticing she's staring, he asks if anything is wrong. No, I was looking at your pen, she says. It's a beauty, isn't it? asks Blair. Yes, agrees Vicki. Mr. Devlin gave it to me, says Blair--noting the way she's staring at it, Blair remarks that she must have a fondness for fountain pens--you've hardly taken your eyes off it. It's strange, I found one just like it, she says, at a place called Lookout Point. I don't think that's possible, he says--there are only six of these in existence, and four are in South America. South American? Asks a surprised Vicki. Yes, that's where Mr. Devlin bought it, says Blair, including the one he has--I don't think there's another like it in this country. I found an exact duplicate of that, says Vicki. Maybe you found Mr. Devlin's pen--he could have lost it, suggests Blair.[/spoiler](http://www.dsboards.com/epimgs/0095-2.jpg)Oh no, I'm sure it's not Burke's, it couldn't be--because... Don't you think you'd better mention it to him, just in case? Asks Blair--if he has lost it, I'm sure he'll want it back--these pens are expensive.
They decide to go question Barnabas at the Old House (it's daytime), and only find Julia Hoffman. Skeptical Sam isn't very friendly towards her. She insists she's just trying to maintain her disguise as an historian and is still trying to help Maggie, but hasn't come up with anything yet.[/spoiler](http://www.dsboards.com/epimgs/0308-2.jpg)Sam doesn't believe her, calls her "the master of the evasive answer," and stalks away, leaving Joe to apologize for him.
I love today's photo. Miss Hoffman at her most insidiously reassuring.
It's Josette's turn to be interrogated, and Trask is clearly smitten by how pretty she is. She barely knew Miss Winters, she says, so his insistence that the governess is the witch and meant her harm seems to make no sense. He gazes at the pitchfork on Josette's hand, the devil's brand, he calls it, and says the devil wants to entice her. The brand comes and goes, she explains, and she does feel differently when it's there than when it isn't. She is being possessed by the devil, Trask says, and he must exorcise it from her![/spoiler]
In the woods, Barnabas hears the howling of the dogs. "I hear you calling me," he says. "Why don't you appear?" Looking especially lovely, Angelique does. Why did you summon me? he asks. I'm very angry at you, you disobeyed me, the vampire says--you allowed Joe to live. How do you know? wonders Barnabas. Never mind, I just do, she says--I ordered you to destroy him and you didn't do it. I couldn't, says Barnabas--I couldn't let him die. I told you he WOULD die--you must not disobey me, she says sternly. I have to, he says. "You won't," she says, "You can't, and I'll see that you don't." No, says Barnabas. "Joe Haskell will die," she says, "and you will be responsible." "Me?" asks Barnabas, his face twisting with horror.[/spoiler](http://www.dsboards.com/epimgs/0612-3.jpg)"Yes," she says, delightedly, "I want you to be the guilty one. I want you to kill Joe Haskell and live with the guilt for eternity."
Carl enters, in a frenzy, commanding that Quentin get rid of Magda--I won't speak in front of her. She chucks Carl under the chin and asks, don't you like me anymore? Carl turns away and says, just go, please. It's always a pleasure to leave this house, says Magda--Quentin, Barnabas wants to see you this evening, at dusk. Carl reacts--dusk, yes! He asks Quentin, where are Judith and Edward? Both are dreaming of Judith's money (funny), says Q. We must wake them, says Carl, we must do something. Do what? asks Quentin--there are so many things waiting, such a choice. Not about this, says Carl--sometimes I wishes I hadn't had the dream--the one where Pansy told me the vampire isn't dead. Dream again, says Q--Edward described the staking of Dirk in great, graphic detail. No, says Carl, not Dirk, there's another, Pansy said so in my dream--she said who made Dirk a vampire. Laura, guesses Quentin. No, says Carl--I can prove it--I saw the vampire go to his coffin--I know you won't believe this. Quentin suggests, you've gone mad. No, says Carl--Pansy told me to go to the mausoleum--there's a coffin there, I swear it--you must believe me--I know who the vampire is! Tell me, demands Quentin. "Barnabas," says Carl. Quentin tips his head back and laughs; his laughter fades as realization strikes him--Our cousin we never see during the day, who always appears at dusk, says Q.[/spoiler]
I keep forgetting to post a piece of trivia regarding the May 11th's installment in the slideshow. Most probably already know this, but for those who still might not, you might be surprised to find out that the role of 1840's Randall Drew was originally created for Don Briscoe. Unfortunately, though, he was unable to play it...
I will forever be lamenting what could have been. [ghost_sad]
Sky returns to Nicholas, gazing in consternation at the body. A ghost rises from it, stands, and says, Sky, you are alone now--all alone!--but I will help you, you must avenge this--Jeb Hawkes must die! Sky nods, eager to comply.[/spoiler]
Lab - We see the cute little lab animals in their cages. Cyrus looks through a microscope. You're always working and I'm always interrupting you, says Buffie--listen here, when I get something on my mind, I can't get it off--I mean not until I've settled it, at least--you know where John Yaeger is. I'm afraid I don't, insists Cyrus. You know a lot more than you're letting on, she says, and for some reason won't tell me--you must think I'm a fool--what kind of work could Yaeger do for you?--if he picked up a test tube, he'd break it. Cyrus finally raises his head from the microscope and looks at her, calling he "Miss Harrington." You used to call me Buffie, she reminds him (when)? Whatever association I had with Yaeger is strictly between us, says Cyrus. Buffie pursues--no it's not--you know what I think?--I guessed what he does for you--he LIVES! WHAT? demands Cyrus. Yes, he lives while you work, says Buffie--he's having a ball while you're making pretty colors in those test tubes.[/spoiler]
Mrs. Johnson paces the dark drawing room of the Old House. She looks out the window and sees Barnabas and Julia returning. They enter the house; he begins to light candles. Mrs. Johnson comes out and asks them, did Carolyn tell you anything? Nothing at all, he says. You must not blame her, says Mrs. Johnson, she's blocked it all out--too painful. We know that, says Barnabas, we didn't try to torment her--we simply must know what happened, who this spirit is and how it got control of Collinwood. Why? she asks, what good would it do, you can't prevent it, why add the burden of those sorrows? We were just trying to tell Carolyn that we CAN prevent it, explains Julia. Can prevent it?--you're as mad as she is! exclaims Mrs. Johnson. Look at u very carefully, urges Barnabas--you noted that we haven't changed since you saw us 25 years ago--some terrible disturbance in time brought us here. And when we get back in 1970, says Julia, we can stop everything that's happening here.[/spoiler]
Mr. Stiles, are you responsible for bringing Miss Faye to this establishment? asks Trask. Yes, says Gerard, I am. She has many powers which should be used for the good of man, says Trask. I'm sure she would agree with you there, says Gerard. Do you know if Barnabas Collins has talked with her recently? asks Trask. Why would he? wonders Gerard.. There are many things, perhaps, that Barnabas Collins doesn't want brought to light, says Trask--he might try to dissuade her from doing what she should consider her duty--my father's last remains must be found!--you seem a good judge of character--what is you opinion of Barnabas Collins? I have made none, sir, replies Gerard. You are in an excellent position to find out much about him, says Trask. Only if it is worth my while, says Gerard. It can be, says Trask. Smiling, Gerard praises Trask's simplicity. Then we do understand each other, grins Trask.[/spoiler]
Cottage - I'm sorry, Melanie, for not being able to tell you more, says Carrie, unable to look directly at her. I was so certain you knew, says Melanie--when you said the image was becoming clearer, I thought suddenly you saw my mother's face and was going to tell me. Perhaps I would have if Julia hadn't walked in, says Carrie, but she did. Yes, she did, says Melanie bitterly. I'm terribly tired and would like to go to bed, says Carrie. Why are you so upset? asks Melanie. I'm not upset, I'm tired, I told you! says Carrie. Are you keeping something from me? asks Melanie. No! says Carrie immediately--honestly, you must believe me! Very well, says Melanie, I believe you[/spoiler]
Showing Roger a drawn diagram, Malloy explains the brakes run on hydraulic fluid and there's a master cylinder under the hood--the fluid's in there--when you step on the brake pedal, what you're doin' is forcing the fluid from the master cylinder to the separate cylinders on each brake, and that's what stops the car. Where does this piece come in? asks Roger. This piece, the bleeder valve, explains Malloy, was missing, and left a little hole where it should have been--and every time you stepped on the brake pedal, you forced a stream of hydraulic fluid out of that hole--do that a dozen times, there's no fluid left at all.[/spoiler](http://www.dsboards.com/epimgs/0017-3.jpg)That's exactly what happened, says Roger--the brakes were working fine until I got about halfway down that hill. That's the way it must have been planned. I've got to be sure about this, says Roger--could this piece have come off by itself? Never heard of it happen, says Bill. Is it hard to remove? asks Roger. Easy with a wrench or a pair of pliers, says Malloy. Then that's it, says Roger--Devlin came to the house this afternoon and made arrangements for me to meet him in town tonight--what was to prevent him from going to the garage and tampering with my car to make sure I didn't get down that hill? Malloy rises from his chair and says it's possible, but neither of them can prove it.
Drawing room - Roger looks through the mail. Willie enters and introduces himself, saying he must be Mrs. Stoddard's brother. May I ask what you're doing in this house? asks Roger. I'm a houseguest, explains Willie. Invited by whom? asks Roger. Your sister, says Willie, it was nice of her to invite me, she's a gracious lady. Roger surveys him as if he were a cockroach, asking how long he's known his sister. Willie says since last night, Jason introduced them. In other words, says Roger in clipped tones, you're a guest of Mr. McGuire? I guess you could put it that way, says Willie, he and Jason have been friends a long time[/spoiler]
Collinwood, drawing room - Trask tells Abigail that the tragedies will continue to befall the Collins family as long as the witch lives. She's angry the judge is prolonging the trial--could he possibly be under Miss Winters' influence? Trask doesn't think so--Bradford is the problem. I have made repeated attempts to indicate his error, says Trask. Make it clear to him that he cannot advance without the influence of our family, says Abigail.[/spoiler](http://www.dsboards.com/epimgs/0429-2.jpg)Trask decides to pay Bradford a visit. I wish we could find that book, says Abigail, to save us all, we must bear much.
Lang makes sure the room is completely darkened and is sitting beside Barnabas as he awakens, asking where he is. He looks at Lang. "Who are you?" he asks. Dr. Eric Lang. Barnabas remembers the accident and is panic-stricken about Vicki. Lang assures him she's fine and will be released in a day. Barnabas tries to leave, but Lang orders him to stay here--you've had a lot of medicine and you're suffering from shock. Lie down, urges Lang. Barnabas asks the time. "Nearly four," answers Lang. Call Collinwood to send a car for me immediately, commands Barnabas.[/spoiler](http://www.dsboards.com/epimgs/0466-4.jpg)Lang says, I've been trying to tell you--you've been injected with new and experimental drugs--I had no choice but to use them--you must stay so I can study the effects--this is vital to both of us. Only one thing is important to me, says Barnabas passionately. "To be home before dark?" asks Lang, upsetting Barnabas. Why are you asking--what do you know about me? demands Barn. You must stay in this room, says Lang, I must speak to you. "Tomorrow," insists Barnabas. "After dark?" counters Lang. "Then come to Collinwood," says Barnabas wearily.
Quentin drunkenly sits by the fireplace and tells Angelique she made him a promise, and she owes it to him to keep it. He helped her, now she must help him! He sways around, pissed off. Laura comes in, asking if he's taken to talking to himself--a very bad habit. What are you doing Here? he demands. I'm going to be staying in the cottage, didn't Edward tell you? she asks. Yes, says Quentin, annoyed. Are you up to your old occult tricks? she asks--if you're imploring your own dark deities to get rid of me, you can forget it, she says. He walks toward her unsteadily. "You're dead," he says. She notes he's been drinking again, so she must really have him very worried. I saw you die in Alexandria, he says, his face an inch from hers. You imagined it, she insists. Quentin, pouting, says I didn't--you're dead, aren't you?--answer![/spoiler]
Old House drawing room - As this ep begins, the seance is in full swing--Vicki is in a deep trance, apparently reliving the night Josette died. She IS Josette, being pursued by. . .who? "He's getting closer!" cries Vicki/Josette--"He mustn't catch me!" Liz and Barnabas are concerned (well, Barnabas is afraid he's going to be exposed) and try to stop what's happening. "I've got to jump!" gasps Vicki. Just when it seems Vicki/Josette is about to reveal who her pursuer is, Barnabas leaps from his chair and shouts, "NO!!!", putting a stop to Vicki's trance. She falls unconscious to the table.[/spoiler]
Cassandra is listening to Lang's tape for the umpteenth time. She smiles as the music resumes, then turns off the recorder. She leaves the drawing room, weapon in hand, and goes to the West Wing, where Adam lies asleep. 2 AM - She finds the door locked, holds out her hand and opens it via witchcraft, with a gentle wave of her hand. She enters, gazes at Adam for a moment, and says to herself he must not die by magic or Nicholas will know she is responsible. She must kill him the human way-and so she raises an axe above his unsuspecting head.[/spoiler]
Today's photo really deserves a special prize! Fabulous work MB!
Cassie Collins took an axe,
Give the monster 40 whacks...
Barnabas lifts the box containing the hand and asks Julianka, how will you save Quentin--how? You ask too many questions, complains Julianka. I'm concerned for his safety, says Barn. You still do not trust me? she asks. I must know what will happen, he insists. You can never know, she says--my great-grandmother took pity on Count Petofi, turned him back from wolf to man, and it's her secret I know, but I am the only one who will know it, until my daughter is born--"This hand and I are the only ones who know." We tried to use the hand before, says Barn. Yes, how brave you and Magda were, scoffs Julianka, holding the hand in hers--only I can guide the hand. Must you use it? demands Barnabas. Yes, and that's all I will say, says Julianka, returning the hand to the box--there is much to be done--this must be done the moment before the moon disappears, for when it does, it must take the curse with it to the underside of time. Barnabas, puzzled, says, I don't know where Quentin is. Find him, orders Julianka--I must go get precious herbs--the leaf of the nightshade, the prickly stem of the devil's satch--in the woods--I will find them and come back in time--have Quentin here, she tells him, and leaves.[/spoiler]
Julianka! Even Magda was afraid of her.
Julia, on the phone in Barnabas' room, is ordering an ambulance. Lang comes in. I knows who you are, he says, we know each other. I have been treating Barnabas, she says, who is in no condition to stay here. You can't move him, insists Lang, but Julia says only she completely understands his case. What is your diagnosis? asks Lang, and she says it's a rare blood disorder. It IS rare, he agrees, and difficult to control. What name has she give to this rare disease, he asks, but she evades the question. She starts taking Barn's clothing from the closet. Lang knows what it is--and first asks to see Julia's neck--he saw strange marks on Vicki and wonders if Julia also has them. (she wishes, sigh!) She is again evasive, demanding the necessary clearance to take Barnabas out. It's very nearly dawn, he observes shrewdly.[/spoiler](http://www.dsboards.com/epimgs/0466-3.jpg)I have a lot to do, she says nervously, she isn't sure what the transfusion given in the hospital will do to him. Lang points out Barn had almost no blood, no pulse, no heartbeat--I envy you such an unusually interesting case, he says, but she insists they're wasting time. Lang has an interest in bizarre medicine and wants to discuss Barnabas, a member of the living dead, now. Your words, not mine, says Julia.
I'm sure however there are enough examples of MUST on DS to last perhaps 2 years, not just one. It was that kind of show. You will be COMPELLED to say you MUST!
Today's shot is the prelude to one of my favorite scenes in the entire series. When Dr. Lang makes his dramatic statement to Julia, it looks as if Addison Powell is struggling not to crack up--but the weird look in his eyes actually lends credence to this doctor's truly "bizarre" concept of medicine.
Of course, just half a year or so earlier, Julia had been standing in front of a bubbling cauldron in the middle of a classic mad scientist lab in the Old House basement, dropping very peculiar looking pellets into a frothing brew...
Melanie comes in, laughing uproariously. Why aren't you ready for the funeral? Flora asks her daughter and she and Quentin stare at Melanie, shocked. Melanie goes over to the coffin, puts her hands on it and says, giggling, "They don't pay any attention to you, do they?--you tell them what they must do, and then you die!--but they don't have that lottery, oh, no, they're much too smart for that!" Melanie, please! begs Flora. Melanie continues, "It must go on, don't they realize that, the lottery must happen again!"[/spoiler](http://www.dsboards.com/epimgs/1204-3.jpg)She laughs, chillingly.
Julia waves the prism in front of Roxanne and asks, what's the last thing you remember? Eyes focused on the prism, Roxanne says, I remember leaving Collinwood to go home. What happened then? asks Julia. I got home and was waiting for someone, says Rox. What were you waiting for? asks Julia. It was...it was...says Roxanne. An open window bangs; the candles blow out. You must tell me! says Julia, suddenly aware something strange is going on. She closes the banging window, then goes to re-light the candles. Hearing something outside the room, she goes to look around, feeling a chill. Is anyone down there? she calls over the stair railing. She returns to the lightning filled room and closes the door. Roxanne is gone! Julia looks around.[/spoiler]
Suddenly coming back to herself, looking crazed, scared, Mrs. Johnson, says, I beg your pardon--Barnabas asks if David died. Now evasive, Mrs. Johnson says yes, he just died, that's all. We've been to Collinwood and know something terrible happened, says Julia--tell us what it was. Did it have anything to do with David's death? asks Barn. I don't know what you're talking about, she replies, frightened. You do, says Barnabas, tell us what happened. Nothing, she says, shaking. That's not true and you know it, says Julia. Please don't hurt me, begs Mrs. Johnson, I never hurt anybody, you know, I only tried to help. We're not going to harm you, Barnabas assures her, but you must tell us what you know happened at Collinwood and to David. Please, I can't talk about it, she says. Julia comfortingly holds the elderly woman's arms and reminds her, you were our friend, you know how we loved everyone at Collinwood, and now they're gone. Gone, yes, all gone, agrees Mrs. Johnson sorrowfully. Where and why? asks Julia. You must not ask and I must not tell (is this the military?), says Mrs. Johnson. Why not? asks Julia. Because it was too horrible, says Mrs. Johnson--why do you think I come here at night to put flowers on his grave, why can't I come in the day and see the sun and the grass and the flowers around where he is buried?--because no one is supposed to have anything to do with anyone named Collins--you're not even supposed to mention the name![/spoiler]
I think at that point, Clarice had found more regular work on another soap, but I'm not sure about that.
Trask locks the front door of Collinwood. Alexis walks halfway downstairs and asks him, who are you--what are you doing? Though stunned to see her, he covers it well--I'm Trask, the butler,he explains--I've been away. Oh, yes, she says. Surely Mr. Collins has mentioned me? asks Trask, sounding wounded. Yes, of course, says Alexis, coming the rest of the way downstairs, sorry for my abruptness. Were you told about me? she asks nervously. He identifies her as Miss Alexis, Mrs. Collins' twin sister--is there anything I can do for you? I was looking for Quentin, she says, have you seen him? Yes, he took Amy to visit the Loomis' at the Old House, says Trask. So, he decided to take Hannah Stokes' advice after all, she says--did he say why he was taking Amy there? She enjoys visiting her cousin Carolyn from time to time, says Trask. Does she always go there this time of night? asks Alexis.[/spoiler](http://www.dsboards.com/epimgs/0996-2.jpg)I really couldn't say, says Trask, uncomfortable--if you'll excuse me... If Mr. Collins is out of the house, asks Alexis, why have you bolted the door? Trask stiffens--I'll open it when he comes back, he says. Is it always your habit to answer questions indirectly? She asks--why did you bolt the door? Because...I really can't talk about it, ma'am, he says. Please tell me if something happened to induce Quentin to take Amy from the house, says Alexis, i must know. I don't know what you could be referring to, he replies. Trask, she says warningly. He admits something has happened--you must help us, help all of us--we must leave this house, all of us!
Chris asks Sabrina what happened--I want to get a doctor. I want Julia to treat me, insists Sabrina. He keeps asking what happened, but Sabrina won't talk; she just asks for Julia again. Chris gets Quentin on the phone, who says, Julia went into town a short while ago. Do you know where she went? asks Chris. No, says Q--is something wrong? Hearing something happened to Sabrina, Quentin promises, I'll be right down. Chris kneels beside the weak Sabrina. You must tell me what happened, he insists, you must--but she is silent.[/spoiler]
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.[/spoiler](http://www.dsboards.com/epimgs/0837-4.jpg)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!
On the landing, David stops Amy and tells her to be silent--Quentin will make them sick! Amy says the adults won't let them. David thinks they won't believe them and will punish them for going into the West Wing. Amy is insistent that they finish it, but David reminds her they must do as Quentin says. But we didn't know what he was like, says Amy. David shouts, "We do now, and don't you forget it!" He twists her arm painfully behind her back and covers her mouth.[/spoiler]
She asks him to answer one question for her, she deserves an answer--who was she and where did she come from before the experiment? You were no one, nothing, he says. You're lying, says Eve--I know I lived another life--there is someone I knew in another lifetime who I recognized--I want to know more about him--he loved me, though I don't know when, where or why--tell meSomeone you knew, muses Nicholas, in another lifetime. . .that's fascinating, he says. Then it's true, I have lived before, she exults. The less she knows about that life, the better, Nicholas says--I want to know about HIM--not who he was before, but who he is now. Eve doesn't want to endanger the man, who might take her away from Adam. You're not stupid, says Nick--you know it would be foolish to let anyone take you away from Adam. What harm would it do to know about my past? asks Eve. Nicholas again asks who the man is. Jeff Clark, she replies--I know he's Peter Bradford, but I don't know how or why. Blair asks how long ago this man lived. I only know it was long ago, says Eve. If that is true, says Nick, they are one and the same--and forces are at work I don't know about. She doesn't understand; neither does Nick--I must find out. Eve says she will do anything he wants her to do, but he must tell her. Nick says he will let HER tell HIM. He has her sit at a table, turns off the lights, and assures her everything will be quite clear.
Wonderful shot, MB!
That scene is one of many that helps make the 1968 storyline one of my favorites
I started watching the show (a few months prior to this moment, in the middle of the Dream Curse) so it will always be my sentimental favorite.
Angelique caresses Barnabas' hair. She knows he almost told Josette about her, but that isn't important. His family knows now, and will want to see him. If he doesn't keep his mouth shut about her to them, Josette will die. One word, and Josette is doomed! Barnabas agrees he must never tell her anything--he must save her.[/spoiler]
In the study, Vicki tells Carolyn that she finally got David to bed, and it was Jason who found him, in the basement. What was he doing there? asks Carolyn. Jason claimed he was looking for David, says Vicki, because he knew she was trying to find him, at least that's what David thinks, but Vicki doesn't, especially since he said he was going up to his room and not look for David, and besides...she's got to stop thinking everything that man says is a lie. You must tell me, insists Carolyn. Vicki tells her when she came downstairs, Jason was standing, listening, outside the drawing room door--he said he wanted a book in there and was waiting for the conversation to be finished. Carolyn doesn't believe that for a moment, she neither likes nor trusts Jason; but she doesn't believe he's an old friend of her mother's, no matter what she says. It's not like your mother to lie, says Vicki, and Carolyn agrees, Jason is making her mother lie. How do you know? asks Vicki. Carolyn can tell, Liz seems afraid of him, as if he has some hold over her. Not possible, says Vicki, her mother is a strong woman, she wouldn't let anyone do such a thing to her.[/spoiler](http://www.dsboards.com/epimgs/0201-3.jpg)Carolyn asks her how she explains it all--his being here, and don't say it's because he's an old friend--he isn't a friend of her mother's or hers--Mr. McGuire isn't a friend of anyone.
Everyone's against me, says David, nobody wanted me to have that painting--nobody wants me to have it now--you all hate me--you hate me! And he races from the room, upstairs, Liz calling plaintively after him. Vicki comes out of the kitchen, asking what's the matter. He just found out about the painting, says Liz, you'd better go upstairs and try to calm him down. I will, says Vicki, and heads upstairs. You certainly dealt deftly with him, says Liz sarcastically. (great father #3) I was very direct, I admit, says Roger--it's all part of the growing up process, he's got to learn it sooner or later, this is the first step. You really don't seem to care what you say to him, says Liz, how much you hurt him, how much you alienate him. That's why I'm so sure he's be much better off with his mother, says Roger. Are you? asks Liz. Absolutely, says Roger. (#4) Let me tell you something, she says, I can see right through your little campaign of giving David to Laura, but I won't let you do it--the child is frightened of her--and I've had enough of her and the air of mystery that surrounds her--someone must tell her she can't see David anymore.[/spoiler](http://www.dsboards.com/epimgs/0150-2.jpg)Don't do that, says Roger. I'm going to do it--right now, says Liz, and marches off determinedly, out the door. Roger looks perturbed.
For the last time, there was no dead man down there, Vicki insists to David, who now sits on his bed, thumbing through the book--you were listening at the door, so you must have heard me tell Joe it was seaweed. Yes, says David, but I also heard you talking about Mr. Malloy. He's old enough not to have to tell people his comings and goings, insists Vicki. David makes a face and says, "Not anymore--I think my father killed him!" That's a horrible thing to say! Vicki tells him, sitting on the bed beside him. Is it horrible to tell the truth? he asks. But it isn't the truth, she says, you don't know a thing about it. I know what I saw in my crystal ball, don't I? he asks. It's in your mind, says Vicki, not true, it's all in your imagination.[/spoiler]
Joanna really wants to kill me! cries Daphne. What else can we think? he asks--she moved toward the bed and when she found it empty, she vanished. Do you think I should leave Collinwood? she asks. No, he says, it's the one thing you must not do--there are answers here, and we will find them. She shakes her head--Joanna was so good to me in life, she'd never try to hurt anyone--I don't understand this. There are answers, Gerard assures her, and we will find them--perhaps if we communicated with her in some way. We already tried that, we had a seance, says Daphne, she appeared, but only for a few seconds, then disappeared. If we can't communicate directly, perhaps indirectly we can, he suggests--when Quentin confided in me about the notes, he told me about the great oak tree, where he and Joanna used to meet. That's right, says Daphne, she even left two of the notes there. If Quentin would write another note, suggests Gerard, and have someone leave it there for her, a note explaining how he feels about you, then I'm sure she would understand.[/spoiler](http://www.dsboards.com/epimgs/1172-1.jpg)How would we know? asks Daphne. She would be bound to answer Quentin's note, he says, and that way, we'd know everything. You may be right, she says. You sound a bit doubtful, he says. I'm thinking about Quentin, the chance he would be taking, she says, they've already accused him once of trying to communicate with the dead; if anyone should find the note, they could accuse him again. It is the only chance we have, he says--I'd do it if I were in his position--for you--you must go to Quentin and tell him what danger you are in.
Yaeger returns to Cyrus' lab, turns on the light, takes down the map and opens the safe. He reaches for the antidote--only enough for this one time, he says, and then... The cops knock at the door. Yaeger quickly drinks down his alibi.[/spoiler]
The cops are still knocking. Cyrus picks up the empty bottle--this is the end, he says, the last of the potion--I must tell them everything!
Barnabas goes to Josette's grave. Everyone is ready to go, to move against the Leviathans, except me, muses Barnabas--I can't as long as I have any doubt about you, Josette. Her music begins to play. Barnabas calls, "Who is it? Who's there?--Josette, is that you?" She appears, lovely in her wedding gown and veil, minus the protruding golf eyeball. It is I, she says, and I will tell you what you must know, how and forever.[/spoiler]
Evan snaps his fingers and Tim repeats, "I am going to kill someone." You must do whatever I tell you, says Evan, but you don't know why, only that you must--when the time comes, says Evan, you will have no memory of these plans. Who am I to kill? Asks Time. You will know when the time comes, replies Evan--we must make sure you aren't caught--there will be a signal which will give you a sense of power, of release, and you will know the time for action is at hand. Evan holds up a card--the queen of spades--and tells Tim, when you see it, the name of the person you are to kill will be in your mind, and nothing will stop you.[/spoiler]
In bed, asleep, Amy dreams, tossing her head back and forth on her pillow. Beth calls to her, her voice filled with tears. Amy asks where she is. "Oh, Amy!" sighs Beth--"What can we do?" Amy gets out of bed and asks if it's time to play the game. No games, says Beth--come to me, Amy. Amy walks toward Beth's voice, to the cottage, where Chris sits in a chair. "Don't come near the window, Amy!" warns Beth. The shade is drawn down. Amy asks if something has happened to her brother, and begs Beth to tell her. He's all right, says Beth, this time. Amy asks if she's talking about Chris. Beth tells her she saved him. "You must not tell him about me," warns Beth. "You love him as I love. . ."[/spoiler]
Stokes says Barnabas knows witchcraft is being practiced at Collinwood and knows who the witch is. He came to him for a talisman, a protection against witches. Who is the witch? Barnabas isn't sure he should tell him, what would he gain? My help, says Stokes. He believes someone is the victim of a dream curse, it could be anyone, even Barnabas. Why me? asks Barn. The point is, says Stokes, I think I can break the curse, and you must tell me who the witch is--you have no other choice. Barn shilly-shallies a while longer, but finally breaks down and admits it's Cassandra Collins.[/spoiler]
Wonderful photo. I love it!
Joshua sets up Barn's portrait in the drawing room. You didn't tell me everything, she says--you must trust me, tell me all--I need a name for this enemy. "My son. . .my son is a vampire," Joshua says painfully, made so by the curse--won't he be human after the curse has been removed? Nothing is sure, she says, but now she knows how to start. Joshua closes the doors on Bathia and the portrait.[/spoiler]
I wonder if they ever put back in the blooper from the scene where she's exorcising Barny-boo and she is incanting ponderously "We must go..." and then obviously can't recall at all what comes next. And then from offstage you can hear a nasal male voice in a Brooklyn accent bark, "Go to the old house!" "Ahhh, we must go... to the Old House..." That was utterly classic DS but some fool excised it... from the best of intentions, of course.
Fabulous shot of Bathia today! I love her.
Naomi Collins, wasn't she the woman who was supposed to be buried with all her jewelry? Asks Jason. That's the question HE asked me, says the caretaker, the man who was here last night. What did you tell him? asks Jason. I can't answer anymore questions, says the caretaker. I don't think you have to, says Jason, and everything seems perfectly OK in here, a little damp perhaps, but that can't be helped. Can't you feel anything in the air? Demands the caretaker. I can't even feel the air, says Jason--now tell me, where did this young man go after he left here? I don't know, I didn't see him, says the caretaker. Isn't it possible he wasn't here in the first place? Asks Jason. Oh, but someone was here, the lock was broken, it must have been him, insists the caretaker. If Willie had been here, there would have been more evidence than that, says Jason--he's not the kind to get this far and just stop. Stop what? asks the caretaker excitedly. Nothing, says Jason hastily, the important thing is, I'm satisfied he wasn't here--thanks for the tour. You tell him he must never come here again, says the caretaker. I was just telling you, he wasn't the one who was here, says Jason, then stops, looks down and spots Willie's cigarette butt on Sarah's coffin.[/spoiler]
It wasn't Mrs. Stoddard I wanted to talk to you about, says Peter, it was Mrs. Collins. Before you begin, says Roger, if it's on the subject of keeping David from her... I'm afraid it is, says Peter. Then the discussion is over, says Roger. Please, says Peter, while you were away, certain new information was brought to our attention. And that is precisely where I would like it to remain--good morning, Doctor, says Roger, and turns to leave. Peter stops him--"Mr. Collins, do you want your son to die?": queries Peter--"I am very serious about this." Roger turns to look at him. Are you still implying that my wife offers a serious threat to my son? demands Roger. I'll do more than imply it, he says, I'll come right out and say it--we have evidence that your wife is threatening to destroy your son. Evidence?--facts? demands Roger, what are they? I must ask you to keep the greatest secrecy about everything I'm going to tell you, says Peter[/spoiler]
MB, what a lovely photo of John Lasell and Big Lou for today's selection.
And extra nice to feature Roger given that it's Father's Day!
That means you had 40 minutes to kill, says Burke. Roger looks at him. I really should use that word, should I? asks Burke--you had 40 minutes with nothing to do--is that better? I had a great deal to do, says Roger--we're not all like you, some of us have to work for a living--Bill Malloy brought me some papers from the office to go over--I was interrupted at first by your friend, Miss Winters, then I went back to work studying the papers, and then I left the house at 10 of 11, so, you see, I didn't have any time at all, as you suggest, to KILL! You have never mentioned papers before, says Burke. They were no concern of yours, says Roger, they were business papers. I suppose you could produce these papers, challenges Burke. My dear fellow, I could produce reams of papers if I had to, says Roger. I bet you could, says Burke So you see, it's impossible that I had anything to do with Bill Malloy's death at 10:45 since I was right here in this room at the time. I see, says Burke, it's just too bad you don't have anyone to verify this time. Oh but I do, says Roger. Your sister--I'm sure Elizabeth would swear anything for you, says Burke. Roger grins and says not at all--your good friend Miss Winters can verify it. Vicki? asks Burke, puzzled and unhappy--she's mixed up in this? It isn't a question of being mixed up in anything, says Roger--it just so happens she came downstairs about that time to tell me something. Something important, guesses Burke--then she must know what time it was. If you must know, says Roger, she was telling me about a dinner party she was going to have with Sam Evans. Oh, yes, says Burke. Surely you'll take her word for it, says Roger. Maybe, if I heard her say it, agrees Burke. Would I tell you something like that if it wasn't true? asks Roger--it would be too easy to check on! Then suppose we check on it, says Burke--go get her and tell her to come down here and say what you just said.[/spoiler]
In the lab, Larry Chase strongly advises Cyrus, end your friendship with Yaeger--he's dangerous--I met him tonight as Chris told me to, but after meeting him, I must tell you I'm even more appalled at what he's doing. Did you get the signature for the bank account? asks Cyrus. Yes, says Chase, but I tore it up after getting it--I can't believe you won't listen to reason about him. Cyrus, shocked, says, I'm not in the mood to argue about this. Explain, be more specific, insists Larry, as to why you need Yaeger--surely someone can replace him, perform whatever services he's doing for you. I can only tell you, says Cyrus, that I'm not going to change my mind about this--I want that bank account opened in his name--and one more thing--I want you to change my will--in the event of my death or disappearance, everything that belongs to me shall go to John Yaeger.[/spoiler]
Francis Swann was a wonderful writer, and I guess he isn't discussed more (if at all) because all his scripts were pre-Barnabas.
Nora sleeps, Raggedy Ann at her side. Jamison stealthily enters her room, closing the door. He calls to Nora in a whisper, urging her to awaken. She looks at him, surprised, and turns on her light. What are you doing up so late? She asks. I couldn't sleep, he says, I'm worried about something--why did Tim come to see you, and left without seeing me? "Who said he came to see me?" asks Nora evasively. He did, didn't he? asks Jamison. Yes, she admits, but how did you know? I peeked out of my room and saw Tim leaving, says Jamison. "You mustn't tell anyone," cautions Nora--"he made me promise!" It's just that he doesn't like me anymore, says Jamison, acting wounded. No, says Nora--I told Tim you weren't feeling well and were resting. I bet he saw everyone else in the whole house, except for me, accuses Jamison. No, says Nora, I was the only one Tim saw. Did he tell you that? asks Jamison. Yes, she says. I bet Tim saw Charity, or Beth, says Jamison. . . He barely knows Beth, protests Nora, and he and Charity have never gotten along very well--he came specially to see me![/spoiler]
this ep was missing when DS was shown in local syndication (and it isn't alone in that because 6 eps were missing even though Worldvision was in possession of kinescope copies of them or, in the case of 3 eps, the Master Tapes - Worldvision simply chose not to include them
Liz looks at the Tarot card again. Madame F comes downstairs and tells her she felt astral disturbances upstairs, but more strongly downstairs. Two forces seem to be battling one another. Madame F notes. Liz doesn't really believe in the occult, unless driven to it as she has been (how could she possibly deny it?) Madame F. walks into the drawing room. Strange, she keeps returning to this room--there are vibrations she feels no where else in other rooms. She asks if there's someone connected with Liz' family or the house's history whose first name begins with M. Liz doesn't think so. Madame F. feels the letter M strongly here. She asks to be left alone here; the person who spoke to her earlier seems to be scared of others. Suddenly, the medium says, "There is a curse on this house." Liz is shocked. Madame F is positive of her assessment.[/spoiler](http://www.dsboards.com/epimgs/0648-1.jpg)Liz closes the doors, leaving Madame F. alone. The latter wanders around the room, listening, holding out her arms like antennae. She calls to "M" for help. Come to me, she calls. "I will aid you in your fight against the spirit you oppose, but you must tell me where to look! Keep trying to reach me, I am waiting for you!" Suddenly, she throws up her arms. "YOU ARE HERE!"
what a FABULOUS shot of Cavada Humphrey today!
Many thanks to you and Midnite for a fascinating series!
A man must grab what he wants, says Adam. Stokes replies, "If his hands can hold it, yes." Adam explains that each man has one chance only. True for most men, agrees Stokes. Adam says he's no different, but Stokes hesitates and responds that Adam is different in some ways. Stokes isn't sure what they are talking about, but Adam says he's referring to himself. He asks Stokes if he believes in love. For some people, says Stokes. Some people should not be in love, adds Stokes, it would be most unwise. "I am in love," says Adam--with Carolyn--she doesn't understand; Stokes must tell her for him. Will he do it? Stokes seems at a loss for words.[/spoiler](http://www.dsboards.com/epimgs/0550-4.jpg)"What should I tell her?" asks Stokes. How love is, responds Adam. Stokes is sure Carolyn knows that. Adam wonders why, then, is she so frightened. He doesn't mean to scare her, he must tell her that, then she will love him. It's not that simple, says Stokes. Explain, asks Adam. Carolyn is a sophisticated girl who has led an unusual life for our times, says Stokes--she has money, she can do what she likes, see whomever she likes--she has a great deal of freedom. Adam says he wants freedom, too. Carolyn will marry someone of similar background, says Stokes, but Adam says no, she will marry ME. She doesn't love you, protests Stokes. Adam insists he will make her love him. That may not be possible, says Stokes, you are quite different from her. Adam insists he learns fast, and Stokes agrees. I will learn whatever Carolyn wants me to know, adds Adam. Stokes says it's more complex than that. I hate that word, complains Adam--you must make it simple for me. Stokes wishes he could make him understand how they are born, raised, grow up, learn a little at a time; when they reach maturity, they know what they want, they've made their choices. So have I, asserts Adam. No, says Stokes, you are different
Stokes' increasing unease at what Adam wants to discuss and what he wants Stokes to do
Barnabas tells Julia the story of his being locked in the coffin, then reveals the secret room. He shows her his coffin inside, closing the door behind them. Barnabas finds David's pocket knife on the floor and is positive David knows his secret.[/spoiler](http://www.dsboards.com/epimgs/0317-3.jpg)Julia protests, insisting this isn't definitive proof at all. Barnabas, however, is stricken with fear and feels he must prevent David from telling anyone.
That looks like Barnabas is holding a USB drive.
the potential the Adam character had and his storyline, but it was all written into the ground
Stuff like that is why I get frustrated with the hagiographical narrative that DS was such a great show because of Curtis' artistic direction. "In spite of Curtis' interference" would be more accurate, I have often thought.
[/spoiler](http://www.dsboards.com/epimgs/0050-2.jpg)Vicki drags David into her room. I want you to see what you did, she says sternly. Why did you have to come and wake me up for? he asks sleepily. I don't think you were asleep, but if you were, I'm not at all sorry I woke you up, she says--look at that, go ahead--tell me what it says. He doesn't respond at first, so she asks again. Death, he replies. And who wrote it there? she asks. I don't know, he says. I've had just about enough of this nonsense, says Vicki. I didn't write it! he says petulantly. Who did? she demands--a ghost or a widow?--I want you to take these tissues--she pulls them from a box on her dresser--and wipe it off. No, says David. I'm not fooling, he says, I didn't go near your old mirror, I was asleep in my room! I want you to take these tissues and erase that, right now! she orders, thrusting them into his hand. It wasn't me, he says, it must have been the widows. What's going on in here? asks Carolyn, entering the room. Something between David and me, explains Vicki--David, listen to me. They were in my room all night, he says, I went down to tell Aunt Elizabeth and they must have come in here. That's awfully strange, says Vicki, because they seem to have the same handwriting as you. Death? asks Carolyn--that seems to be the password for the night--she grabs her cousin and shakes him, demanding to know how dare he write that? Vicki stops her and gives David once last chance--either he wipes it off right now or else they go down to his Aunt Liz. All right, he says, viciously swabbing it off--there!--satisfied? Now I want you to go to your room, says Vicki--and I'm warning you, I don't want anything like this to happen again! I didn't write it! he hurls back at her--it was the widow! He goes into his room.
I think the answer, as you suggest, is that they simply got forgotten.
I seem to recall that they were mentioned several times in the early Dan Ross novels, the pre-Barnabas ones, but that's a memory from nearly 50 years ago now.
Roger starts to walk away, covering his face with his hand in sorrow. David's hand drops from his chest--he awakens! Roger turns. David calls to his father--what am I doing here like this? Asks the boy. Roger holds him. "Oh, my son, oh thank God!" he cries.[/spoiler](http://www.dsboards.com/epimgs/0839-1.jpg)"They're gone," says David, "Quentin and Beth have gone, forever! I was with them!" Julia rises from the pillow, laughing, repeating, "David is all right!" Barnabas is relieved. Quentin asks what it means--"Quentin is gone, what does that mean? What?"
You must tell me, demands Quentin. Julia calls Barnabas. He goes to her, assuring her everything is all right--"You're here with us in the past." Julia looks around, asking if it's the 10th of September. He's saved, Barnabas assures her, this is Quentin, and he's no ghost.(http://www.dsboards.com/epimgs/0839-2.jpg)Julia stares nervously at Q, he looks back. You look the same, she says, but there's no evil in your face. "You saw me in the year you came from?" asks Quentin disbelievingly. Yes, she says, you were with David just before... David's all right, says Q quickly--you told us that. Barnabas nods.
I realize this is quite irrelevant to the theme, but...
My God, David Selby had pretty lips back in 1969. SWOOOOOOOONNNN.
| Frid | 3 | | Hall | 6 | | Frid | 6 | | Frid | 15 |
| Moltke | 3 | | Frid | 6 | | Moltke | 4 | | Moltke | 11 |
| Barrett | 3 | | Moltke | 4 | | Henesy | 4 | | Hall | 10 |
| Henesy | 3 | | Scott | 3 | | Barrett | 3 | | Henesy | 8 |
| Bennett | 2 | | Parker | 3 | | Hall | 3 | | Barrett | 7 |
| Parker | 2 | | Lacy | 3 | | Nickerson | 3 | | Parker | 6 |
| Edmonds | 2 | | Edmonds | 2 | | Bennett | 2 | | Edmonds | 6 |
| Selby | 2 | | Ford | 2 | | Briscoe | 2 | | Bennett | 5 |
| Hall | 1 | | Jackson | 2 | | Astredo | 2 | | Selby | 5 |
| Lacy | 1 | | David | 1 | | David | 2 | | Lacy | 5 |
| David | 1 | | Barrett | 1 | | Edmonds | 2 | | Scott | 5 |
| Stroka | 1 | | Lassell | 1 | | Selby | 2 | | David | 4 |
| McKechnie | 1 | | Briscoe | 1 | | Wandrey | 1 | | Astredo | 4 |
| Millay | 1 | | Henesy | 1 | | Blackburn | 1 | | Briscoe | 4 |
| Lassell | 1 | | Bennett | 1 | | Parker | 1 | | Lassell | 3 |
| Wallace | 1 | | Richards | 1 | | Lacy | 1 | | Pennock | 3 |
| Astredo | 1 | | Lindsey | 1 | | Richards | 1 | | Blackburn | 3 |
| Briscoe | 1 | | Wandrey | 1 | | Wallace | 1 | | Ford | 3 |
| Scott | 1 | | Baragrey | 1 | | Jackson | 1 | | Jackson | 3 |
| Gerringer | 1 | | Crothers | 1 | | Storm | 1 | | Nickerson | 3 |
| Pennock | 1 | | Karlen | 1 | | Pennock | 1 | | Millay | 2 |
| Rodan | 1 | | Astredo | 1 | | Scott | 1 | | Wallace | 2 |
| Slocum | 1 | | Eis | 1 | | Crawford | 1 | | Rodan | 2 |
| Ryan | 1 | | Pennock | 1 | | Bolster | 1 | | Ryan | 2 |
| Blackburn | 1 | | Cody | 1 | | Patrick | 1 | | Crawford | 2 |
| Crawford | 1 | | Schofield | 1 | | Keyes | 1 | | Storm | 2 |
| Storm | 1 | | J. Hall | 1 | | Lassell | 1 | | Patrick | 2 |
| Vestoff | 1 | | Blackburn | 1 | | Ryan | 1 | | Crothers | 2 |
| George | 1 | | Powell | 1 | | McEwen | 1 | | Humphrey | 2 |
| Patrick | 1 | | Millay | 1 | | Humphrey | 1 | | Richards | 2 |
| Davis | 1 | | Davila | 1 | | Rodan | 1 | | Wandrey | 2 |
| Bernau | 1 | | ____ | _ | | Ford | 1 | | ____ | _ |
| Prentice | 1 | | ____ | _ | | ____ | _ | | ____ | _ |
| Crothers | 1 | | ____ | _ | | ____ | _ | | ____ | _ |
| Humphrey | 1 | | ____ | _ | | ____ | _ | | ____ | _ |
Joe sits on the sofa, holding his aching head, sipping a cup of coffee, and hesitantly asks Carolyn what he said to her mother. Just a few friendly little things, she teases, like, "She ruined my life by bringing me up in this house." "Oh, boy," Joe moans, holding his head, "I think I'll kill myself." She orders him to finish the coffee first, and he laments that he doesn't know how he could have said those things. "Because you meant them, Joe," she says candidly. He insists he was just plain drunk and suggests her mother must be pretty sore at him. "Yup," she says with mock reproach. He says he's sorry, and she points out that everyone has to blow off steam once in a while. He nods ruefully.[/spoiler]
You'd think it would smell all musty in here, says Vicki, but it doesn't--it smells of jasmine. Jasmine? repeats the caretaker. It comes from in there, says Vicki, pointing to another room. Frank darts forward. What are you talking about? he asks--let me take you home, I'm worried about you. What's in there? asks Vicki. No, not in there, warns the caretaker, you mustn't go in there. Why not? asks Vicki. That's the crypt, he replies, I never let anyone go in there. But I have to, protests Vicki, please! If the man says no, says Frank, I think we'd better take his word for it. We knocked, says Vicki, and we didn't go away, we came in--please do us this one favor.[/spoiler]
I didn't confirm its accuracy, and we all know how not everything in there is accurate, but we'll hope that is...
Jason enters and looks at Willie, asking what's the matter. Get him out of here, orders Liz--I found him annoying Vicki. Willie! Says Jason, what did you do? We were just talking, I swear, says Willie, I didn't touch her! Hey, did I touch you? he asks Vicki. Well, she says... Jason insists on knowing, if anything happened here. Vicki admits he didn't actually do anything. Oh, asks Jason, he must have done something to upset Mrs. Stoddard. I was only talking to her, says Willie. That's all? asks Jason. Is that true, he asks Vicki, was he only talking. They were talking, says Vicki. Did he annoy you in any way, asks Jason. I suppose not, says Vicki. Then what's all the fuss about? Jason asks Liz, the girl has no complaint. Liz knows what she saw. Yes, says Jason, but you can't always believe the things we think we see. Jason thinks they should all forget the unpleasantness, and starts to lead Willie away to his room.[/spoiler]
And considering he doesn't appear in today's screen cap and no screen caps appear in the quoted section from the Robservations, it's worth mentioning that the goings on involved James Hall's version of Willie.
Barnabas' room - Barnabas is holding one of the pistols when Jeremiah comes to see him. Jeremiah tells him he's sorry, and Barnabas curtly says this really gives him a reason to hate his uncle, because if he doesn't love Josette, he's ruined their lives for nothing! Jeremiah couldn't avoid it; Josette came to him. Barnabas refuses to believe this, but Jeremiah tries to explain--he attempted to go away, but Joshua disappeared. He couldn't go to Barnabas--it was as if they were under a spell! Blaming witchcraft? Barnabas asks sarcastically. No, it was a lack of character--you saw Josette, wanted her, and made her love you. You took advantage of her--"You must have hated me all of your life", accuses Barnabas. Jeremiah, heartbroken, denies this. He and Josette HAD to be together, there was no choice! Barnabas says he has none, either, and takes the pistol from the case.[/spoiler]
At Collinwood, Cassandra goes to the open window with a candle and speaks to Sam Evans, casting yet another spell--"You must live until Vicki hears the dream--Vicki must hear the dream because she will take the final step and carry the dream to Barnabas."[/spoiler]
Wow wow WOW MB. Today's photo of Cassandra is JAW-DROPPING!
STAGGERINGLY excellent work!
She informs him crisply that she saw him going to the West Wing, to the storage room--I followed you. He tells her she's made a mistake, but she assures him she didn't, she just doesn't know how he exited the storage room without her seeing him. I didn't get out, he says, because I wasn't there! She accuses him of lying. He denies it. I saw you go into the room! she cries. If you saw me go in, he asks, how did I get out without you seeing me? She blocks his way. He insists he can't tell her something he doesn't know. She warns him to stop acting innocent, he can't fool her. Hurt, he accuses her of not wanting to believe him. Stop it, she orders--it won't work--whatever it is, it's something you're terribly afraid of. What? he asks. Whatever he's trying to hide, she replies. He denies that, too. You're hiding something in the storage room, says Maggie--did you really find the phone there? David doesn't respond, then says he found it in the cellar. Why did you go to the storage room? She persists, giving him one more chance. "Maggie," he says, "I think there's something wrong with your eyes." She again orders him to stop it--you can try every trick in the book, go ahead, but in this battle of wills, I'll be the victor.[/spoiler]
Old House - a dog howls. Barnabas rises from his coffin. (Get those hinges some oil!) He sits up, calls to Magda or Sandor. Magda comes down. I found Jenny, she says--she's still up there--they wanted to take her away, but I wouldn't let them. Good, says Barnabas, closing his coffin--I want to ask Jenny many questions and not be disturbed--I realize someone from Collinwood will show up soon, so I must hurry. I need to speak to you, says Magda--it's important for you to listen to me--I want you to release Sandor, it's important, we must take my sister away from here. "Your sister?" he asks. "Jenny," she reveals. Wow, says Barnabas' face. If Jenny stays here, Quentin will kill her, says Magda. I cannot let you go, says Barnabas. You must, says Magda--I know why you're here in this century, to save two lives of people living 100 years in the future--but my sister has nothing to do with that. But she DOES, says Barnabas--she ran away to this house, but I wasn't here, the house was empty except for Jenny, and I changed that, locked her in her room--you wouldn't even have known she was at Collinwood, had I not done that--the story must be played out as it was originally, or I won't be able to save either David or Chris.[/spoiler]
Wow, MB, what a fabulous shot of Magda! Beautiful!
Thunder rolls. Barnabas opens his eyes and sits up. Oberon and Haza gaze at him hopefully as he stands, sliding down off the altar. His face looks cruel, cold. He moves his hand in the same gesture as Oberon, reciting a poem we will be hearing a lot in the months to come: "The waters shall nourish each grain of sand, wedged between ancient, sacred stones, and guide us to the threshold of a time to be and restore our flesh and bones (brrrr!) Oberon and Haza introduce themselves to Barnabas. We bid you welcome, Master, says Oberon. You have performed your tasks well, praises Barnabas. Thank you, says Haza. There is one thing that must be done before I leave, says Barnabas--do you have the ancient book? Yes, says Oberon. I will do what must be done, says Barnabas--have you made the necessary preparations? Yes, responds, Oberon, everything is ready for you. They hand him a carved wooden box, topped with the same snakes as those on the altar. This is the Leviathan box, says Haza.[/spoiler](http://www.dsboards.com/epimgs/0887-1.jpg)Oberon passes it into Barnabas' hands. It is written that only this box shall accompany me, Barnabas says, but you shall be with me, in spirit--do you understand? We do, they assure him. When the time is come, how shall I know the chosen ones? asks Barnabas. It is written, in the ancient book, says Haza, that when you seek guidance, you will find it in your dreams. It is for that reason, adds Oberon, that we must go on in spirit. Before I leave, says Barnabas, is there anything else that I must know? Our task here is done, says Haza, there is nothing more we can do. Soon, says Oberon, we shall herald the arrival of a new and all powerful leader. This box, says Barnabas, must not be opened until that time. Yes, agrees Oberon. I shall not fail, vows Barnabas, the power and wisdom of 200 years will protect and guide me and that which has been prophesied will one day become reality. We see the twined serpents on the altar. Thunder booms.
Another exquisite photo, MB. Peter Lombard was so marvelous as Oberon.
What is your relationship is with Dr. Longworth? asks Gladstone. I'm assisting in his new experiment, says Yaeger. He never mentioned an assistant, says Gladstone, as a matter of fact, he always stressed the fact that he worked alone. "Perhaps he was trying to tell you to mind your own business," suggests Yaeger, "now why don't you just give me this." He reaches for the package, but Gladstone pulls it out of his reach--it's only for Dr. Longworth or Miss Stuart, he says--can you call her? She's not here, says Yaeger, but I can assure you I'm authorized to accept it. I must have that assurance from Dr. Longworth, insists Gladstone. Maybe I should just take it from you, threatens Yeager. I wouldn't do that if I were you, advises Gladstone--I don't think Dr. Longworth would approve. What if I don't give a...hoot about Dr. Longworth's approval? asks Yaeger, (and one senses hoot wasn't the word he wanted to use). If you're really Dr. Longworth's assistant, says Gladstone, you surely must be aware of how important my compound is to his experiment, and if I'm threatened in any way, my cooperation will cease immediately--do I make myself clear?[/spoiler](http://www.dsboards.com/epimgs/1005-4.jpg)Very, says Yaeger, barely controlling his anger. Then I'll bid you good night, says Gladstone, taking the compound with him.
Lovely to see John Harkins today.
Truly one of the unsung heroes of DS.
I remember Garth Blackwood growling MUST a lot so perhaps he'll show up in this series eventually.
Julia, says Barnabas quietly, you have been with him. (In the biblical sense?) She shakes her head-no, she says. He has done this to you, says Barnabas. No, she insists, still shaking her head. He has made you do this, accuses Barnabas. Don't talk about him, she begs. Julia, why not--are you so terrified of him? he asks. I told you to go while you can! insists Julia. And leave you to him? says Barnabas. Leave me, yes, it's the only chance you have, she wails. But why is he so terrifying that you can't mention his name? demands Barnabas-say it, Julia! No, she cries. SAY IT! he orders. NO! she repeats, shaking her head, throwing her hands out. "Then it will be my will against his," says Barnabas. Let me go, says Julia, near tears-he's watching us, I know it, somewhere outside this house, he's watching, he knows what's happening here-"Barnabas, go, go!" Look at me, Julia, commands Barnabas. She refuses, turning away. Look at me, he repeats-you can hear me, you will do as I say-"Now, look at me!" Her head swivels around with reluctance; they lock eyes. "You can escape," she says. "Not without you," he responds tenderly. "You can't take me with you," she says, shaking he head. He moves in close, almost within kissing distance, and adds, "Never without you." You won't be able to take me, she warns. I will, he insists -you must believe me, I will. I can't, she says. Once we are back in our own time, he can't get to you, he reminds her-"You must depend upon me, not him!" She tips her head back and sobs. He says it again--"You must depend upon me!" Julia falls into his embrace, crying[/spoiler]
Great shot from a great episode. For some fans, this is THE episode.
"Not without you... Never without you."
Not until years later--I think I watched it in the actual year 1995 for the first time.
Not until years later--I think I watched it in the actual year 1995 for the first time.
Now that's pretty cool.
Great shot from a great episode. For some fans, this is THE episode.
"Not without you... Never without you."
It's a wonderful scene!
Daniel releases Julia from his stranglehold and tells her she must not leave, or they will know she's in this house[/spoiler](http://www.dsboards.com/epimgs/1111-1.jpg)--she didn't think he would recognize her simply because she's wearing that ridiculous get-up. I've never seen you before! gasps Julia. Daniel says she did it deliberately to shame him, just as she's always done--and now they must play the little game again--"You were always so stubborn, Harriet!" I'm not Harriet, protests Julia, holding her throat. Ha--how like you to say that, accuses Daniel, do you not think I recognize you?--of course you've changed, but you were always deceptive, always pretending to be someone you were not. He is clearly nuts. I should have known that when I married you! he shouts, coming closer to her. Julia warns him she will scream, she swears. You cannot scream, he insists insanely, if you scream, they will come--they will know how you haunt me, how you always come back to haunt me
Who spoke to you? asks Quentin. Papa, she replies. Justin? asks Julia (redundant). He came to me from the grave and told me we still have obligations, says Melanie. I knew it, says Quentin, the curse can't be settled any other way, it's got to be a Collins--I don't know why we delude ourselves. He said we have to have the lottery again, reveals Melanie. Yes, agrees Quentin, it's the only way. Whether it's the only way or not, says Julia, we can't have it now--Flora isn't here and Morgan and Catherine are in the village. We'll have to call them back, insists Quentin. And what about Gabriel?--we'll never be able to find him, says Julia. If it wasn't for his cowardice, we wouldn't be here now, says Quentin--we're better off without him. Perhaps we should try to find him and force him to go into that room, suggests Julia. If we find him, I'm not sure he'll go into that room, says Quentin, I think perhaps I'll try to kill him first! Quentin! objects Melanie, you wouldn't do thatWhy not? asks Quentin, his voice filled with venom--brother killing brother--it's not the first time it's been done in the Collins family! (who else?)--you don't have to worry about him, he's safe, because I don't know where to find him--he turns to Julia--what did Carrie Stokes tell Morgan? He said he didn't really understand her, says Julia--she was cryptic. I'll have a little talk with Miss Stokes, says Quentin, hurrying out. Why does this have to happen to us? Melanie tearfully asks Julia--why were we the ones cursed?--what could our family have done in the past that was so terrible?--why is there no end to the terror we must live through? It will end, Julia insincerely tells the growing-hysterical girl. I don't believe that, says Melanie--we have done nothing, and yet for us, there can never be any peace!
Mrs. Johnson looks out the window in Vicki's room and tells her that Burke Devlin must be very fond of her--he dropped everything when he heard you were missing and came right here to the house and spent the entire night searching for you. She turns down Vicki's bed. I could hear him searching for me that night, through the wall in the Old House--I was only inches away, but I couldn't cry out, says Vicki. Well, says Sarah, he didn't stop searching, he did everything he could, and then he hired special investigators, they came up here, tramped all around the grounds, must have cost him a fortune. I didn't know that, says Vicki. Of course I don't say I like the man, says Sarah, but I'd say you were lucky he was on your side. I know, I'm very grateful to him, says Vicki.[/spoiler]
Liz looks out the window, and Roger says he doesn't understand her at all--if he's a friend of Paul's, he's probably as bad as Paul, or worse. Must you indict everyone? She asks. Roger says he simply wants to know the sort of person he'll be tripping over in the hallway. Liz doubts Jason will be in anyone's way. How long will he stay? Asks Roger. Not long. Could you be more specific--one night? Two? Liz isn't certain. Roger says he'll narrow it down--will he be transient or permanent? lease, Roger. Surely you discussed it! His stay will be brief, Liz assures him, that's all I can say.[/spoiler]
Peter tells Vicki he's been reading the Collins family history book[/spoiler]
Another classic Liz/Roger tete a tete. One questioning the other, and the other avoiding giving a straight answer. They really had it down to a science! [ghost_wink] And in this ep Roger has some great dialogue. I absolutely love his "Well, if he has to stay here to say 'Hello,' how long will it take him to say 'Goodbye'?"
Where is the painting? demands Stokes. In my room, says Vicki. Is the painting restored? asks the professor. She nods-yes. You must leave Collinwood immediately, he says, unless you do, you will have the dream. Cassandra will find some way of forcing you to have it, despite Sam Evans' death, and if you do, Barnabas Collins will be your beckoner, you will tell him the dream, and he will die. You MUST leave this very night."[/spoiler]
I always feel now as if I've somehow thrown the I Ching or gone down the Stairway through Time when I comment here since it's still 2019 on this board... believe me, I am not complaining.
So much love for today's photo! I love how near-crazed Stokes looks in the capture. Vicki looks confused
A very drunk Quentin knocks frantically on Evan's door, hoping his old friend will understand the lateness of the hour. Evan points out how drunk he is. Yup, says Quentin, very--and it doesn't help. It never does, says Evan. Turn on the lights, asks Q, I don't like being in the dark. Evan demands, what do you want? Help! says Q--there's no one else I can turn to; only you understand. But I can't do anything for you, says the lawyer. There must be some way to end the curse, insists Quentin, and you have to find it. I tried twice and failed, Evan reminds him. In two nights, there will be another full moon, says Q, and we both know what that means. I know, says Evan. What you DO NOT know, Quentin tells him harshly, is the agonizing pain that comes before the change, and the guilt after--the last time it happened, I killed a woman!--there MUST be some solution to undo what Magda did. Evan has no solution. Quentin is miserable. Evan says, I'd like to help you, to keep you from suffering, but I have no supernatural powers! But you do have knowledge of the black arts, says Q, use it!--if anyone can end my misery, it's you--we must persuade Magda to stop it. We tried, says Evan--it did no good. I'm not looking for a miracle, says Q, just something, anything--I can't go through with this again, I'd rather die! He splays himself in a chair. Evan pats his shoulder and promises to try to think of something[/spoiler]
David closes the doors and Paul impatiently asks, what do you want? I have a photo album, says David--since you weren't around then, perhaps you'd like to see it. (I had the same album!) It's some pictures of Carolyn growing up, says David. The paranoid Paul says, that's thoughtful of you. Aren't you going to look at any of them? asks David. The two of them sit on the sofa to go through the pictures. One photo shows a girl in blond pigtails. David points out, that must have been taken of Carolyn just before you left (the girl in the picture looks much older than two)No, says Paul, it isn't. David grins at him and asks, are you going to look at any more? Of course, says Paul.
Claude North orders Roxanne--keep looking into my eyes, I have the power to restore you to me--if you will it--keep looking into my eyes and come back to me, Roxanne! He repeats it twice, then grows angry--she has never resisted me before--what has been done to her?--if Stokes were here, I'd kill him with my bare hands--I'm taking her away from this place, I don't care about the deal I made with Stokes--I'll return his money to him, tell him the truth--he touches her shoulder and finishes, "That I can't live without you." Take my hand, he says, come with me. Hearing someone fumbling with the front door, he says, I must hide--and you must do nothing to reveal my presence here, do you understand? She looks at him.[/spoiler]
it's a Brian Sturdivant close-up!
somewhere or other recently, I read that he was a personal friend of Jonathan Frid's.
Carolyn, seated on the drawing room sofa, reads ASTROLOGY by Louis MacNeice. She answers the door to Sebastian Shaw, who wants to talk to her about "that look in your eyes." It's the resemblance to my dead husband, explains Carolyn, I'm sorry--did you bring my horoscope? He nods. I so hoped you would, says Carolyn--I've been reading the book you gave my mother--it's fascinating, really. Isn't that a dilettante's word? he asks sarcastically--you don't believe in astrology at all, do you? I never have, admits Carolyn. You're honest, says Shaw, that will make this easier--I started your horoscope, Mrs. Hawkes, but I had difficulty finishing it--you didn't come to me for your horoscope--it was all an excuse--I KNOW why you came, because of all the questions you asked--I'm not your husband, Mrs. Hawkes--you must have loved him very much to think that I was. The dead do return, states Carolyn, I do believe that. I'm not proof of that, he says, and you must accept that. She looks sad.[/spoiler]
Old House - Josette's room, where the furniture has been covered. We hear Josette's music box theme playing. Barnabas enters the room and gazes up at her portrait--how I've longed to see your face again, he says--I will never forget, but now I'm free again, I must begin a new life--forgive me--I had to say goodbye. He lifts the portrait off the mantle and puts it, face down, against the fireplace. He turns, startled to find Ben there.[/spoiler](http://www.dsboards.com/epimgs/1113-0.jpg)Barnabas and Ben stare at each other. You know me well, says Barnabas. Well enough to know you'd come here, says Ben. For the last time, says Barnabas. What does that mean? asks Ben. Josette can never be mine, says Barn, I will make an existence without her. You hated your life before! Ben reminds him. I will no longer condemn myself to that coffin, insists Barnabas. You've got to, says Ben. You've served me well, says Barnabas gently, but you cannot understand the eternal darkness of that tomb--I will not involve you this time as I did before--I will take whatever chances I must--alone. You must not, says Ben, you must talk to that Julia, she's from the future, from 1970. What an incredible story, says Barnabas, I do not have your naivete. She can help you, says Ben. No one can help me, says Barnabas.
Evans cottage - Did you hear me?--Pop? says Maggie, shaking her father by the arm. He's lying on the sofa and he asks what it is. It's almost one in the morning, she says. I didn't know it was that late, says Sam. Why don't you go to bed? she asks him. For what? he asks--to toss and turn?--it's no use, I've got too much on my mind. What's bugging you? she asks, sitting on the sofa beside him--do you want to talk to me about it? I don't want to worry you, he says, with my petty little problems. It would be worse if you didn't, says Maggie. All right, if you're so inquisitive, he says--I'm worried about Bill Malloy. He's a big fella, he can take care of himself, points out Maggie. Normally, agrees Sam, I'd say yes, but these aren't normal times--there are forces loose in Collinsport that frighten me to think of--evil forces--you can smell it in the very atmosphere. Maggie laughs--this must be the purest atmosphere in the country, she says--why do you think all those summer people come up here every year?--to get away from the air pollution, that's why. This pollution lies in the souls of men, not the air, says Sam. I've never seen you so gloomy, she says. I've never had as much to be gloomy about before, he says.[/spoiler]
Liz holds a key in her hand, on a chain, and she hears a door slam and begins putting roses in a vase. Roger bursts in and tells her he's been searching the house from turrets to foundations, looking for paintings--has she seen them? What paintings, she asks. About a dozen, he says, some in frames, some not. Family portraits? She asked, most of them are hanging. No, says Roger, he picked them up about 10 years ago and not important, but he needs to have them--has she seen them? Liz doesn't remember them. I need them for personal reasons, says Roger, and he's searched everywhere except the locked room in the basement. (uh oh!) They wouldn't be there, she says, but Roger wants to check anyway--does she have the key? She doesn't know where it is. What do you mean? he asks. Angrily, she says, "I'm telling you, I don't know!" Take it easy, he says, staring at her strangely. The paintings aren't in there, she says, she knows. Roger wants to see for himself. You can't, insists Liz. Furious, Roger wants to know why she keeps telling him that--what's in that room? Some personal belongings, says Liz, and she doesn't want anyone poking around! It must be very personal and important, since it had a special padlock on it[/spoiler]
I'm getting itchy to watch the pre Barns!
Wow MB, I do not remember that scene between Lou and Dennis at all.
Great shot of Liz and Roger!
Looking like a condemnded man heading for the gallows, Barnabas returns to the festivities. Angelique is telling Naomi she wishes there had been some flowers, and Naomi wishes she'd sent some over. She tells Barnabas the wedding was beautiful and she's very happy. He says he is, too, but not very convincingly. Ben brings in champagne for the toast and as he hands out glasses, Barnabas opens the bubbly and pours the first glass for the best man, Ben's, toast--except that instead of champagne, blood pours from the bottle. Jeremiah's laughter fills the room and everyone stares in horror as Angelique runs from the room with a sob.[/spoiler](http://www.dsboards.com/epimgs/0397-2.jpg)
Willie tells Julia his dream, biting his knuckles, his face contorted with horror. The last door held a snarling dog, and it would have ripped him to pieces. Then Willie hears the police dogs and leaps to his feet in consternation. Julia assures him they're just searching for Carolyn. Willie awakened from the dream unable to move or think of anything else. Julia tries to figure out the significance. Willie is puzzled that telling Julia didn't help him, but she says she didn't expect it to. I must find Carolyn, says Willie, but Julia says he can't tell her the dream--if he does, she will have the dream and the curse will continue--and harm will come to Barnabas. Willie doesn't want that. So Julia tells him to stay there, but Willie screams he'll go crazy if he doesn't go. Julia suggests erasing the memory of the dream. She takes her medallion and hypnotizes the terrified man.[/spoiler]
Evan straightens his clothing and answers the phone--it's Beth, calling from Collinwood. Come out as soon as you can, she begs--have you seen the moon? Yes, he says. It happened again! cries Beth He can't help, says Evan. Bring something silver, says Beth, to protect yourself. I can't! objects Evan Someone must find him, she wails, before anything happens. I can't go out, insists Evan. But there's no one else, says Beth--Quentin has helped you, you owe him! Judith stands on the landing, listening in. If this goes on, he'll be caught, says Beth--we must help him! Judith asks what's wrong. Beth hastily hangs up. Nothing is wrong, she says. The conversation wasn't important--I was talking of a cousin of mine in the village who's in trouble.[/spoiler]
It's so good to have you back, says Daphne--when I was told you were dead, I didn't think I'd ever known such pain--or hatred--for Quentin--I blamed him at first for your death, and wanted him dead, too, it was as if a part of me died with you. Darling, you shouldn't blame Quentin, says Joanna. I don't anymore, says Daphne, I know now Quentin would never deliberately hurt anyone. Never, agrees Joanna. But then those terrible letters started coming, letters in your handwriting, explains Daphne, they were to Quentin and me, and suddenly, you became a dreadful threat to my life--and I'd loved you so much! Poor darling, sympathizes Joanna. They were in your handwriting, says Daphne, how could that be? They couldn't have been, insists Joanna, I didn't write those letters--except those I wrote to Quentin while I was in the sanitarium, but I never mailed those! But, says Daphne, taking one of the letters out of her desk--what about this one, it terrified me, I was certain you'd written it. Those aren't my esses or t's, points out Joanna--she writes, showing her sister how she makes them. I see, says Daphne, but if...it doesn't matter--I'm just so glad to have you back--she takes Joanna's hands in hers and asks--what did you do?--where did you go when you left the asylum? I went to Boston, says Joanna. What for? asks Daphne. I don't know, says Joanna, I guess I went there because I wanted to be in a city where I could be one of many. But why Boston? asks Daphne. For the obvious reason, says Joanna, I wanted to be close to that part of my life that gave me the most joy--and pain. You mean Quentin? asks Daphne hesitantly. I suppose so, says Joanna. You're still in love with him, aren't you? asks Daphne. Laughing, Joanna says, you still think of me the way you did when you were a little child--you're such an incurable romantic--we must have many, many talks like this, long ones, may I come and see you again, soon? Of course you may, says Daphne, any time--we've got to be very sure nothing ever happens to you again, never again! I promise you, my darling sister, says Joanna, nothing will. She gazes at her little sister with love.[/spoiler]
Old House drawing room - The house must be immaculate for the party, Barnabas instructs Willie (and is this the "tonight must nothing go wrong" blooper?) He's glad to hear Willie delivered the costumes to Collinwood, and remarks that tonight will be the most important night of his life.[/spoiler]
Adam is still looking at the kissing picture, saying "Carolyn" and making with the lovesick eyes. Stokes knocks and Adam admits him. They greet each other like long lost friends. Adam prefers Stokes' house; he's lonely here. Stokes observes the cheerless surroundings and hands Adam a bunch of books, a writing pad and some pencils. Adam is pleased, but unhappy Stokes can't stick around. Stokes says Carolyn will help him, but first. . .Adam admits to liking Carolyn very much, but Stokes warns him against liking her TOO much. Stokes feels ill equipped to answer Adam's why, wishing he'd had the foresight to marry and raise a family. He sits down beside Adam and orders him not to panic if anyone else discovers him. Just tell Carolyn, says Stokes, she's his friend and knows what's best for him--obey her wishes--most important are your studies, says Stokes; everyone has warm feelings toward certain other people, which is fine, but for Adam, learning must come first--the sooner he's educated, the sooner he can leave the room and go out among other people.[/spoiler](http://www.dsboards.com/epimgs/0544-3.jpg)Adam agrees to concentrate on reading and writing. Carolyn joins them, asking to speak to Stokes, who promises to see Adam as soon as he can. Adam and Stokes shake hands.
Carl, asleep, dreams. We see a pretty multi-colored lamp beside his bed, a ball atop the legs of a jester balancing it. Pansy hums her song. He calls to her, over and over. She's in her dressing room, getting ready for her show, dressed in spangles, all made up. Carl comes to her and she tells him he's just in time for her farewell performance--I'm going away! Why? he asks. The way things worked out, she says, it's time to retire. You can't go, he objects. It's the way things worked out, she repeats--and it ain't been all roses for Pansy, ya know--psychic powers take it out on a girl. He kneels and tells her, if you stay with me, I'll but you a big house, beautiful clothes, and we'll go around the world together! Sorry, luv, she says, it's time for Pansy's farewell, and you can't stop me, the show must go on--and what a revealing show it's going to be! she grins--come and see for yourself, luv, she invites. We hear applause, see PANSY FAYE in glitter. She stands onstage and says, "There is one answer we seek tonight, and it must be found. She asks for a volunteer, and points to Barnabas, who shakes his head, no. She asks Judith to come up, not to be afraid, give her a hand! she calls. She instructs Judith to concentrate on the answer, which will come slowly, but it will come. Judith says she can't concentrate on the answer without knowing the question. You know the question, says Pansy harshly, everyone at Collinwood does! Judith doesn't! Carl comes up and squeals, "I do!" Pansy invites him up. "The question is this!" says Carl. "Who is the vampire?!"[/spoiler](http://www.dsboards.com/epimgs/0778-4.jpg)
At the Old House, Barnabas has a red pill in his hand (I believe it's a vitamin in real life). He swallows it with water. Julia comes in and is terribly upset to learn that he's taken the sleeping pill-she brought him a stimulant! Barnabas says he knows it's inevitable, and he wants to go with some measure of dignity. (Oh, the sad look on poor Julia's face!) He wants to get it over with. While he's awake, there's some slim hope, she says, but he denies this-and the pill is beginning to take effect. I've already given Willie his instructions, says Barnabas-after it's over, he will come to the Old House and assist him. (line mixup here, I think.) When I revert to what I was, you must help him-Willie will bring a stake and hammer and you must drive it through my heart. I can't, she says, walking away from him. He reminds her of the living hell he experienced, alive by night, dead by day-do you want me to live that life again? No, she says, and reluctantly promises to do as he asks.[/spoiler](http://www.dsboards.com/epimgs/0535-3.jpg)Barnabas leans back against the chair, thanking her, and falls asleep. She calls out his name and shakes him, but his slumber is deep. She sits down in the other chair, watching, waiting.
I hope everything is OK.
Sending good vibes
Collinwood - drawing room - David, says Hallie, Maggie couldn't speak, walk or anything--it was awful! And Dr. Hoffman wouldn't tell you what happened to her? David asks. I heard her say this morning, to Mrs. Stoddard, that Maggie was attacked in the woods, by a wild animal, explains Hallie--but I wonder if she knows something about us, about the playroom and Daphne. Don't speak so loud, warns David. Maybe Gerard did this to her, to punish her, suggests Hallie--I wish we knew for certain. David considers. Why don't you go to Maggie and try to find out whatever you can, he advises--without giving too much away. What are you going to do? she asks. I'll tell you later, he says. All right, she says, but you've got to promise you won't try to contact Gerard. Why would I do a thing like that? he asks. You mustn't contact him directly, she warns, promise me, we've got to stay far away from him. Are you going to see Maggie? he demands. Just promise me that, she persists. Either you go or I'll have to, he says, not answering her question--are you going? I'll go, she says, but gives him a sad look before she heads upstairs.[/spoiler]
Maggie cries--Quentin, you can't have him!" she yells, vowing to not to ever let him change David--you tried and failed--"I love David, I'm going to take him away from you!"[/spoiler](http://www.dsboards.com/epimgs/0700-3.jpg)David stands at the top of the stairs, Maggie at the bottom. I'm coming to get you, she says, Quentin can't stop me, he doesn't have the courage--David belongs to me and his family. She heads slowly up the stairs, begging David come to her. In one leap, he runs into her arms. She calls out his name, hugs him, tells him there's one more thing you must do--send Quentin away. I can't, insists David. You must, she says--turn around, look into the door, and do it. He protests he can't, but Maggie reminds him he won't be free unless he does this. David turns around and looks at the door, which slams closed. "David, we won!" she shrieks, hugging him tightly. "We won!" David falls to the stairs, unconscious.
Julia enters. I've been waiting and waiting, complains Amanda. "Wait just a moment," says Julia. Please, begs Amanda, Mr. Best is here in Collinsport--I saw him in the hotel lobby, simply looking at his watch and smiling at me--tonight he'll come for me, I only have two hours left! Go back to the hotel, Julia orders, stay with Grant, do everything you can to help him remember! He'll never say he loves me, laments Amanda--he must, or else...¦when there's a knock at the door, I'll answer it and Mr. Best will be there--and this time he'll give me no more time. Two hours! says Julia, heading for the phone--Professor Osmond said Quentin's portrait would be ready at 3--we will have to see it before then--go back to the hotel and stay with Grant, says Julia, I will call you--"Amanda, you must keep trying."[/spoiler]
Today's capture really is too priceless. I love all of Grayson's scenes with Donna. The interaction between them is always fun.
What were you doing? he asks. Staring into the fire and thinking, she says--I must get back to it. OK, he says, I can take a hint--I won't bother you anymore. He goes to the door and opens it. David! she says, wait! She goes to him, closing the door. Don't be mad at me, she says. If you don't want me to come around, I won't, he says, hurt. Of course I want you around! she assures him. It didn't sound like it, he says. I was deep in thought, you startled me, that's all, she says. You said you wanted to be alone, he says resentfully. You mustn't count every single word I say, she says. Then how will I know whether to believe you or not? he asks. (go, David!) You can believe I love you and want you with me, she says, caressing his hair. It didn't sound like it, insists David. Darling, didn't you ever wake up and not realize what you were saying? she asks. Sometimes I've done that, he says. Well, then, there you are, that's exactly what happened to me! she says. But you weren't sleeping, he points out, your eyes were wide open! But there are times when you do sleep when your eyes are open, she says. It doesn't make any sense, he says. I apologize, she says--forgive me? I guess so, he says."[/spoiler]
Marvelous shot of Diana and David. I always love a glimpse of our Phoenix!
I don't think any other horror show ever had one.
Bruno continues, asking, what did the police say when you brought that curious diary of Cyrus' to them?--two idols destroyed, he laughs mockingly--the eminent Dr. Longworth leaves proof that he falsified Angelique's autopsy to save his friend, the illustrious Quentin Collins--when are the police going to come over and arrest him for her murder? Angelique grins enigmatically. "You did go to the police, didn't you?" he asks. I paid you five thousand dollars for the journal, she says, and it's mine to do anything I want with it. He sternly asks, do you want your sister's murderer punished?--the journal says Quentin did it--Cyrus saw the hatpin in the base of her skull... Yes, agrees Angelique, but there's no proof Quentin put it there--Cyrus only assumed that he did--well, they don't hang criminals on supposition--I want more proof before I go to the police--absolute proof. You aren't going to go to the police, are you? he demands angrily. No, she says. "You MUST!--You MUST!" he shouts through gritted teeth, grabbing her by the arms. His face trembles with the force of his insistence.[/spoiler]
Great shot of Michael Stroka as Bruno today!
I can't recall from the episode number if that's Alexis or Angelique
Melanie sleeps. A wind blows through her room. Windows open by themselves, billowing the curtains. There is the sound of tinkling glass. Melanie awakens and arises from her bed, demanding, "Who are you?" We hear Brutus' laughter, then the ghost himself appears to Melanie, who screams.[/spoiler](http://www.dsboards.com/epimgs/1239-4.jpg)Brutus Collins! she cries, horrified.
Why have you come to me? she asks. My curse must be fulfilled, he says, advancing on her. Stay away from me! she begs. You will help me, he says, you have helped me before, you shall bring suffering upon them. No! protests Melanie, I don't want to hurt anyone! You can't escape me! he insists. Leave me alone, please! she pleads--leave me alone. I will have my revenge, he vows--and you shall be the instrument of my revenge--Amanda! I'm not Amanda, she says, I'm Melanie.
Another great shot today.
And it's close to the end.
The ultimate curse was looming--cancellation.
After Vicki goes back upstairs, Naomi tells Joshua she's glad he made the right decision. Abigail disagrees, and Joshua's pissed at both for eavesdropping. Abigail reminds him of something their mother taught them--when the face of evil presents itself, it must be crushed! Remember that, Abigail warns Joshua-remember it well. Naomi looks upset."[/spoiler]
Carolyn calls the Collinsport Inn, asking for Burke--oh, is he still in Bangor? she asks--did he say when he would be back? She twists the phone wire around her fingers--no, no message. Furious, she punches the sofa. Liz comes in and tells her David's calmed down. I'm NOT! says Carolyn angrily. She stands before the fireplace. Liz asks what's the matter. I just called the Inn to see if Burke was back, says Carolyn. I thought you said it didn't make any difference to you what he did, says Liz. I wasn't calling because of him, says Carolyn, I wanted to see what she was up to--you notice she's not back yet, either. She said she'd be gone a couple of days, says Liz, that shouldn't be any surprise to you. Oh it isn't, says Carolyn, nothing she did would be a surprise to me now! You mustn't jump to conclusions, says Liz. What other conclusion can you possibly draw? demands Carolyn. Burke does have business in Bangor, says Liz. So does Vicki, tattles Carolyn--she made me promise not to tell--but then I didn't know she was going to get so chummy with Burke! (Bitch!) You'd better tell me what you know, advises Liz. She went to see Mr. Garner, reveals Carolyn.[/spoiler]
Gerard comes in and says, "I see you're still trying. My wife is remarkably loyal woman--I admire loyalty in women." Your loyalty, promise Gabriel, is going to be tests. Why don't you just relax and accept the fact that it happened? advises Gerard.[/spoiler](http://www.dsboards.com/epimgs/1120-2.jpg)Because, says Gabriel, I know you've been scheming, and plotting, and talking to my father and pretending to kill Samantha when you wouldn't. I only went along with you because I was afraid you'd try to kill her yourself, says Gerard--I saved her life, I saved her life with very little cost to me. Gabriel, squeezing his ball, warns him to watch what he says. There's a bad editing jump, then Gerard offers Gabriel a word of advice. The latter starts to wheel himself out of the room, but Gerard grabs his chair, stopping him. you'd better listen to me, says Gerard--why don't you just be a good boy from now on?--it will prove beneficial to you in the future--Samantha and I might even be a little "charitable" on your unfortunate situation. Gabriel orders him to let go of his chair. Gerard releases him and Gabriel wheels himself out, squeezing his ball. Desmond enters the house and Gabriel gestures for him to come to him. He tells Desmond he needs his help, he can't do it himself because of his legs. You'd better explain, says Desmond sympathetically. There's been a marriage today, says Gabriel, and we must do something about it.
Beautiful shot today of Chris Pennock as Gabriel Collins--reportedly his favorite role on the series (from old interviews I recall reading).
Let's hope we have good news of Chris's health soon.
The equipment is running, lights flashing as Jeff lies in his post-bite slumber. Angelique watches him, not one spot of red on her spotless white dress (like Mack the Knife, never a trace of red). She helps him up, and he gazes at her, his vision blurry. What happened, he asks. She touches his face, and he flinches away--what did she do to him? She orders him to start now and lifts the sheet covering the body. He tells her to stop, grabbing her wrist, and she says he can't give her orders--he understands that and won't forget it, will he? My life force will go into this body--I will rise, breathe, walk, and I will be free. She wants to start now. No, protests Jeff, only Julia can do this--she'll have to deal with her. Angelique insists he try, but he says he can't alone. She knows he worked with Dr. Lang--Adam told her. He only helped in the beginning, protests Jeff, he didn't bring Adam to life. The books of Lang's, says Ang, they tell what to do. Jeff reminds her she told him she was providing the life force for the creature, and she agrees. Barnabas and Julia never told him about it, and besides, the body isn't ready. It must be, insists Ang, but Jeff says no. When will it be ready? she asks. I don't know, he says. Find out, she orders, and moves to touch him. He tells her to stay away from him, but she says no, he doesn't understand how serious and desperate she is--he must use her as the life force, she insists, her hands on his shoulders. She says what happened to Barnabas will happen to her. You may die, he warns. She reminds him that Barnabas didn't--by the way does he mind her putting her arms around him? Yes, he says, and she hugs him and tells him she will teach him not to mind. She sinks her fangs into his throat again, and although he moans in pain, he looks downright turned on, too.[/spoiler]
Thanks, MB, for re-posting the Saturday photo. I completely missed that one--Saturday was a very busy day and I was offline for much of it (shocking, I know). Great shot!
Lara and Roger had that reunion on that freaky episode of GALACTICA 1980... I watched a bit of it once and meant to finish watching, but somehow never got around to it.
"The Night the Cylons Landed," Pt. 1 capturesand here:
"The Night the Cylons Landed," Pt. 1 captures cont'dand here:
Lara Parker on "Galactica 1980" todayand here:
"The Night the Cylons Landed," Pt. 2 capturesand here:
Re: "The Night the Cylons Landed," Pt. 2 capturesand here:
Re: "The Night the Cylons Landed," Pt. 2 capturesand finally here:
Re: "The Night the Cylons Landed," Pt. 2 captures
I do think the crazy subplot of Angelique trying to angle her way into being the Eve life-force is a real scream. Just crazy... classic Angelique.
[/spoiler](http://www.dsboards.com/epimgs/0720-4.jpg)"Your name is Quentin, she says--"And mine is Jenny." He asks what's happened to her. I thought we were going to be so happy together, she says. We still can be, he says, nothing has changed--"You're still my wife, Jenny!" (SURPRISE!!!!!!) She's excited to hear this. Yes, she says, I am--why did you go away and leave me? He suggests they discuss that on the way back to Collinwood. She pulls away from him and says they aren't allowed. Yes we are, he assures her--it's all right, you're safe. I knew you were back, says Jenny, I heard the music from that room they keep me in. He wants to take her back there. I knew I'd find you here, she teases, and you know why, don't he?--you always came here, to meet people, remember? No, he says. "To meet other women!" she shrieks. He denies it. You thought me pretty, she says, getting in close--do you still? Yes, he says--it's getting late, we must go back to Collinwood. She asks him to kiss her first--you mustn't be frightened of me! I'm not, he claims. Then kiss me! she demands. He doesn't look thrilled at the prospect, but he does, on the lips, for a brief moment. "You won't go away anymore, Quentin," she says. He looks guilty. "And you won't lie to me, either, I feel so sure of that," she says. He suggests they go now. Yes, it's time to go, she agrees, a huge, scary grin on her face.
George and Dave exit Willie's room, looking grim, and at first you wonder if Willie didn't tell them WHAT he's afraid of, as in his former vampire employer. Dave and George tell Julia and Barnabas that Willie is hopelessly insane. His mind has snapped--apparently he's been deranged all along. Now he's in his room, babbling incoherently about being afraid of a voice from a grave. So, Willie is guilty, the case is now closed, and Willie will be sent to an institution for the criminally insane. Barn and Julia express their sorrow over hearing this.[/spoiler]
Willie hangs a cross on the cell door. Barnabas stares at him. Willie begs him not to look at him like that--say something, anything! (he was just begging Maggie to talk to him under eerily similar circumstances.) Willie tells Barnabas I hear the dogs, too, and know what you must be going through--I've got to keep you here, safe. "Please, Willie," begs Barnabas, "let me go free. As your master, I cannot command you now, I beg you--I beg you to let me go free." Willie insists he can't. Barnabas begs him again. "Can you ask for more?" Willie assures him I would do it if it would set you free, but I can't. "I beg--I beg," repeats Barnabas, "listen to them howling--but the true howling is in my blood, tearing at my heart. Please, Willie, please." (this is so hard to hear. Frid is just marvelous!) No, repeats Willie.[/spoiler]
Valerie, holding in her arms the covered box containing the head of Judah Zachary, races in at this very moment. "Stop, you're killing the wrong man!" she declares. Valerie! cries Barnabas. Let's get on with the execution, insists Trask immediately. "No!" cries Valerie, "Quentin and Desmond are innocent--there is the man who is guilty--Gerard Stiles!" Stop him! someone yells; a guard restrains Gerard. I beg you to listen to me! cries Valerie. I will listen to you, Judge Vail assures her--everyone stay right where they are until this matter is explained[/spoiler](http://www.dsboards.com/epimgs/1197-0.jpg)--and Mr. Stiles, he adds, you must refrain from any further demonstrations. Valerie places the head on a nearby flat surface and pulls off the cover. "She's insane, Your Honor!" insists Gerard. That is for me to decide, says the Judge--you have made a serious charge against this young man. And I can prove it, your honor, says Valerie.
"Sarah, my little Sarah," croons Barnabas, "you have come back to me!" He asks he why she didn't come to him sooner. Julia, recuperating from Barnabas' throttling, lifts herself painfully from the floor and into a chair by the fireplace. "You're back with me now, and you're going to stay with me, aren't you?" Barnabas hopefully asks his little sister--"we're going to be all right, and everything will be just fine, won't it?" He approaches his sister, who takes a step away from him. What's wrong? Asks Barnabas. Sarah informs him that she's very, very angry with him for hurting people. "Only when it was necessary," Barnabas responds. That isn't true, says Sarah, and both of them know it. It's over and done with, Barnabas assures her, and everything will be fine as long as you're with me. "No," replies Sarah, "you're not through doing bad things. She reminds him of a rhyme he taught her: "That wicked is wicked is well understood, the wicked are punished, so you must be good."[/spoiler](http://www.dsboards.com/epimgs/0364-1.jpg)You must be good, she tells him, or you will be punished. Barnabas implores her to stay, but she firmly tells him that she is going and will never come back--that will be his punishment! As she begins to fade from his sight, she says, "I know there is good and there is evil because I learned it from you--but you've forgotten it, Barnabas, and you have to learn is all over again--I'll never come back until you do. . .goodbye, Barnabas." "Please don't leave me!" begs Barnabas, covering his face with his hands--"I forbid you to leave--I beg you to stay, Sarah!" He begins to cry behind his hands.
Give me the gun, Judith, Edward asks. She does, docilely. He tells Trask it's her own gun, brought back from France by Grandmother. He examines it--three shots have been fired. He asks Judith again what happened. Trask feels she can't tell him anything at the moment. Where has she been? asks Edward. Judith repeats, "It has to be done." Desperate for more information, Edward presses her, pointing out that they can't help her if she doesn't help them, but she is not forthcoming. I did as he told me to do, says Judith. The vampire, states Trask. What did he tell you to do, who is he? demands Edward. I'm very tired, Judith says--I want to go inside and sit down--there's nothing pressing that needs my immediate attention.[/spoiler](http://www.dsboards.com/epimgs/0776-2.jpg)Edward asks Trask, is Judith completely mad? Not mad--possessed! says Trask--by a will much stronger than her own. Edward asks, what should we do? Trask advises Edward to take her up to bed--sometimes sleep separates the real from the unreal, strengthen the mind. Edward wonders about the three missing bullets. That will come out in time, says Trask, but right now, I want to thank the powers that be for sending Judith back to us, then seek divine guidance against the evil spirit possessing her and plaguing this house--I've been successful with the higher powers in the past. I hope your success continues, says Edward--Judith needs it desperately. Edward takes Judith's arm and gently suggests she get some sleep. Yes, I must sleep, agrees Judith. Edward helps her upstairs. Trask closes the double doors and kneels, hands in a praying posture. He asks for the Lord's help; together, we must help this poor, afflicted woman possessed by an evil spirit of darkness. With Your help, we shall drive the demon back to hell from whenst it came.
Vicki answers a knock at the door--it's Joe. She calls him Joe Haskell, confusing him. He came to see her, he says, which makes Vicki nervous. He senses something is wrong--she seems odd. He returns to her charm bracelet Maggie gave her for her birthday. You found it in the old Collinsport courthouse, says Vicki. He's surprised she knows, but she explains that's where she last saw it--at her trial. This further perplexed Joe. It was brought there by Mr. Trask, used it as evidence against her, she adds. Joe says there hasn't been a trial in the old courthouse for over 50 years. I know, says Vicki. I went there to get old fixtures out of the condemned building, he says--he'd think her crazy if she told him she'd been there. It's falling apart, he protests, but she says it wasn't falling apart when she saw it--this might prove she WAS there, but on the other hand, someone could have stolen it from her and dropped it in the courthouse.[/spoiler](http://www.dsboards.com/epimgs/0465-1.jpg)Vicki isn't making sense to Joe, and he asks again what happened to her. Something strange and terrifying happened the other night, she says. He feels she must have lost it in the courthouse herself. She agrees. I was there, she tells Joe, but not recently--I was there a long, long time ago.
Nice shot of Joel as Joe today.
They return to the drawing room. Burke tells her he's been admiring the paintings; pointing to the one over the fireplace, he asks if that one is Jeremiah. Yes, says Liz. He must have been quite a man--to build this house, says Burke.[/spoiler]
Quentin enters the drawing room--Daphne? He calls--are you the stranger?--you can't be--Carolyn told me you're alive, not a spirit--oh, how I wish that were true--how I wish we could meet, touch, love. Daphne, hidden behind the open drawing room door, listens. And the children, says Quentin, you wouldn't bother them--you'd only think about me, they'd be safe--I'd be all yours. Daphne sobs. Hearing the sound, Quentin asks, who is it?[/spoiler](http://www.dsboards.com/epimgs/1099-4.jpg)Daphne comes out and softly speaks his name. He draws her into his arms. "You're alive!" he exults, hugging her. Please let me go, she says. No, he says. You must, she insists. Never, he vows. She pulls away from him--yes, she says. I must be dreaming, he says, I never walked into this room, felt your warmth. He touches her shoulder. Don't touch me, she insists--I want you to, but you can't. Why? he asks--after finally finding you, why, tell me! Sadly, she says, I can't--so many things I can't do now that I could before. You cannot love me now? he asks--why? You must not ask me these questions, she says, this is why I shouldn't have given in--I should never have appeared--I have no answers for you. Then I won't ask any questions, he says--but why can't I hold you? (That's a question.) She stares at him longingly. He smiles, ardently kisses her, long and hard. They hold each other. Yes, this is as it should be, he says--if words get in the way, then there will be no more words. You make is so simple, she says. And I'll keep it that way, he promises. You cannot, she says. Why? he asks--why did you come back here, if not for me--is it for the children?--is that why?--did you come back for them--you're going to help them, release them, they will be David and Hallie again! Oh, Quentin, she says, going into his arms. Quentin! calls Willie. Q hastily exits the drawing room, closing the doors behind him.
Jason is in the study, enjoying a fine cigar. He looks out at the storm, his hands behind his back, and surveys the room, then sits down, very pleased with himself as he blows smoke out of his mouth. Carolyn enters and he says to come in--he was just lighting up this excellent cigar. Uncle Roger's favorite, says Carolyn. Jason says he must send Roger some cigars next time he's in Manila, they grow the filler portion there, but the wrapping comes from Sumatra, they have a way of combining the two for a great cigar--try one? He suggest to Carolyn. They really aren't her thing, she says--he's very interested in these kind of things, isn't he? Yes, he says, it's these kind of things that give life that extra little zest, things like these that make you say life is worth living, so squeeze every ounce out of it that you can. That's your whole philosophy, she says. You may quote me, Jason replies.[/spoiler]
Brilliant shot of Carolyn and Jason.
Eagle - Yaeger, having a drink, interrupts Buffie in her duties as she cleans a table. You're not being very friendly, he accuses. I have work to do and you know that, she retorts. Are you trying to avoid me? he asks--I've never seen you so dedicated to your work. I have to make a living, she reminds him, swabbing down a table, do you mind? As long as you leave me just a little time, he says, or maybe I'll just stand here and watch you. You must have something better to do, she chides. You're so touchy today, he says[/spoiler]
Great glimpse of Yeagar and Buffy. Yeagar looks like a caricature of a Seventies white pimp--that wig and those clothes--that pornstache. Classic.
Josette's room - Josette applies some of Angelique's special perfume, and when she answers her door, finds Jeremiah there. He swears he didn't want to be alone with her, but her flirtatious manner assures him she's very glad he stopped by. He's angry with himself, but she insists their matching brands are the result of Fate, and they should stop hiding what they feel for each other.[/spoiler]
Nicholas, standing in Widows' Hill, desperately begging Diabolos for another chance. I'll make them do it over!--you must let me explain!--I'll make it right--I'll force them to make a new woman for Adam. Give me time, that's all I need--a week is nothing to you, seven days! It's so small to you. Give me seven days and I'll give you everything you want! PLEASE!! Barnabas is hiding in the bushes, listening to this pitiful supplication as Nicholas continues, "You can take charge of Adam and his new wife--guide their destiny. Just remember that I brought them to you! Let me bring Maggie--I'll come to you!" His us surrounded by flames. "No! You've given me chances before!" he pleads. "I will not fail you this time, I swear I won't. It almost worked, It will work the next time, I swear it will. Don't take me now!" He screams as the fire reclaims him, his arms raised in entreaty.[/spoiler](http://www.dsboards.com/epimgs/0633_34-4.jpg)Nicholas Blair disappears into the conflagration. Barnabas Collins, watching his enemy being snatched from the mortal world, has the biggest, most joyous smile on his face we have ever seen or will see.
The camera homes in on the lion's head doorknocker on the door of the Old House. Inside, Julia paces the room, reading from a journal--Tuesday, November 18th, 1969 - It's now been over a month since I returned from my strange and terrifying journey to another time. I've waited here every night at the Old House, hoping Barnabas would give me a sign, but there's been nothing. I had been hearing faint voices from the past that frightened me, for I didn't know if they inhabited the same world as I, or the darkened corridors of my mind, for I haven't heard the voices for several days and fear that Barnabas is trapped in the past and lost to me forever. Julia rises from her chair. A man whose face we cannot see looks in the window. His hair is gray. He wears gloves and a hat.[/spoiler]
Julia sits at the desk, writing in her journal--I must not give up hope, although there seems so little left now! She closes the journal, recaps the pen, blows out candles and doesn't see the man looking in at her.
Aristede opens the coffin--empty! Aristede swings Magda around to face him and demands, where is Barnabas Collins? He threatens her with the hammer. She looks inside the empty coffin. You had me fooled, says Jamison--I thought you were telling the truth. He left just before dawn to come here, protests Magda, I WAS telling the truth. Perhaps he stopped off on the way here, says Aristede sarcastically, but we know better than that, don't we, gypsy? I have no idea where he is, says Magda. He holds up the hammer, offering to refresh her memory, but she insists it will do no good. Perhaps you'll be surprised what you remember after I'm through with you, says Aristede. You won't do anything because I don't know anything, says Magda--I ain't lying. I'm sorry I didn't kill you tonight, says Aristede. "But I am not," says Jamison, closing the coffin--"She is telling the truth." Gypsies never do, insists Aristede. She doesn't know where he is, says Jamison. I'm sure it's a trap for us, says Aristede. I think Barnabas had a premonition of danger and followed his instincts, says Jamison--as we must now do. We must find him now, during the day, says Aristede. Not possible, says Jamison, asking Magda--no, our only chance is at night. They can't do anything to him then, points out Aristede. Yes, he will come to the gypsy, says Jamison, and tell her where his new hiding place is, and tomorrow, she can take us there--and she will, he says[/spoiler]
Maggie returns to the cottage from a short walk to find her father worriedly pacing. She feels there's no longer any need for concern, but changes her mind when her father shows her the evening newspaper, its headline proclaiming, "Another Girl Attacked." You must be more careful than ever, insists Sam, increasing Maggie's fear.[/spoiler]
Joshua sets up Barn's portrait in the drawing room. You didn't tell me everything, she says--you must trust me, tell me all--I need a name for this enemy. "My son. . .my son is a vampire," Joshua says painfully, made so by the curse--won't he be human after the curse has been removed? Nothing is sure, she says, but now she knows how to start. Joshua closes the doors on Bathia and the portrait.[/spoiler]
9:15 - Julia, asleep on the sofa, dreams: Julia! calls Roxanne. Julia rises--Roxanne! she calls, and finds her at the front door. He's dying, Julia, Barnabas is dying! cries Roxanne[/spoiler](http://www.dsboards.com/epimgs/1177-2.jpg)--follow me--follow me--she gestures for Julia to follow her. Where? asks Julia, where? Follow me, bids Roxanne, over and over, Barnabas is dying! They go to the docks. You must save him, Roxanne, says Julia. I can't, insists Roxanne, you must follow...follow me! Yes, says Julia..
You talk as though I made some sort of plot against you, she wails--that's just not true--I never tried to hurt you! You did hurt me! he says--you did the worst thing one person can do to another--you set friend against friend--YOU TURNED MZ STODDARD AGAINST ME! That's ridiculous, says Vicki, violently shaking her head. You made her lie for you! accuses Matthew--she tried to trick me, tried to turn me over to the sheriff--she never would have done that in the old days, before you came to Collinwood, it was all your doin'--you lied to her and she believed ya! Vicki shakes her head. Why did you do it? asks Matthew, near tears--why do you hate me? I don't hate you! Vicki assures him, and I didn't turn Mrs. Stoddard against you--I never said one word about you to her! You think I b'lieve your lies? He demands angrily--I got eyes and ears, I know what happened! you must be insane, says Vicki. DON'T SAY THAT TO ME! shouts Matthew, going for her throat, but stopping. I didn't mean it, says Vicki, tears glittering in her eyes. You're the crazy one, he says--you think I don't know what's going on?--I know what you done to me, Miss Winters, I wish I'd kilt you when I had the chanceHe again encircles her throat with his hands, but she struggles, and he shoves her down on a mattress lying on the floor. She's crying hard.
He chains Petofi's hands together and adds, "I arrest you for all your crimes, past and present." He slaps Petofi across the face, over and over, ordering him, "Wake up!" YOU! bellows Petofi, furious, then raises his hands, only to find them bound together by the chain. I waited for the proper moment to seize you, says Garth--this moment has come. Barnabas wakes up--what happened? he asks. This is the trial of Andreas Petofi, says Blackwood--how do you testify, for or against? Barnabas gazes in shock at the odd-looking man, but recovers quickly, asking, who are you? Answer the question, demands Garth. He's the master of Dartmoor, Charity tells Barnabas. Answer, how do you testify? asks Garth. Guilty, pronounces Barnabas with great glee. Good, says Garth--aiding and abetting the prisoner is punishable by death. To Petofi, Garth says, you aided the prisoner years ago, you aided my murderer--now you must die![/spoiler]
It's Garth! Garth was very much a one-trick pony but John Harkins really brought him to life.
John Harkins was still in his thirties when he appeared on Dark Shadows. Guess that he was a born character actor.
Vicki seems to contemplate suicide as she stands on Widows' Hill. She wonders--is this the only way she can be with Jeff? Liz and Stokes come upon Vicki. Liz, anxious, wants to rush to her, but Stokes grabs her, stopping her--if you do that, he warns, you might force Vicki to jump. Vicki, in the meantime, screams for them to stay away from her. Stokes asks Vicki to listen to him, please.[/spoiler]
The wind blows Vicki's hair as she balances perilously close to the edge. She tells them she loves Jeff, and wants to be with him. Liz and Stokes beg her not to jump. Jeff wants you to live, Liz reminds her.(http://www.dsboards.com/epimgs/0642-1.jpg)I can't, protests Vicki. Stokes reminds Vicki that Jeff isn't responsible for her standing there, but there may be another way--you must wait for word from Jeff, who is trying to reach you--as long as you believe it, let Jeff tell you what to do. Vicki bursts into a storm of crying. Stokes comes over and eases her away from the precipice. Liz follows after them.
Wow, I don't even remember the scene shown in today's shot, though I do remember at least part of the episode.
All the fun I'm going to have that day I start watching DS from episode one again...
Re: Had Fun at the Fest
Re: Had Fun at the Fest
Re: Had Fun at the Fest
Re: Had Fun at the Fest
Re: Had Fun at the Fest
Re: Had Fun at the Fest
Re: Fest Report
Re: Fest Report
Re: DS Fest Report: Saturday, Aug. 26
Look, says Carolyn, are you sure you want to continue this grand tour?--because I'm beginning to think this place is really getting you down. Vicki assures her no, she's all right--and promises not another word about Mr. Devlin. Vicki looks at a portrait above the piano and asks who he is. Good old Uncle Isaac, says Carolyn cheerfully--he's the one who began it all, started the whole wingding back in the 17th century (does not jive with history as we come to know it)--built the fishing fleet, founded the town, gave it a name--the works--he must have really been something[/spoiler]
Great shot and script quote today, MB.
It's a really long time since I last saw this episode--definitely over 20 years--but I seem to recall on my single previous viewing that she's saying all that while looking at a portrait that seems likely to have been painted of somebody contemporary to the period 1900-1910.
Vicki joins them. Liz asks where David is--in his room? Yes, says Vicki, then speaks to only Liz in quiet tones--I think he's awfully excited, seeing his mother, I think he's had enough excitement for one day--if it's all right with Mrs. Collins, I think we should postpone her seeing him until tomorrow. He doesn't want to see me, does he? asks Laura sadly. Yes, he does want to see you! Vicki assures her, it's just that he's excited. It's natural for the boy to be excited, says Roger, he's been talking about you for years, hoping you'd come back. You don't have to be kind, Laura says. Nobody's being kind, Roger tells her. I know he doesn't want to see me, says Laura. That's ridiculous, says Roger. No, she says, he doesn't, I think he's afraid, I could see it in his eyes. This is utter nonsense, says Roger--I'm going upstairs to have a little talk with David--he'll be down in 10 seconds. Don't do that, please, says Laura. Why not? asks Roger. Because I think it was my fault, says Laura--I think I must have done something to frighten him. You've done nothing, says Roger. I know I have, she protests--perhaps I was just too eager or anxious for his affection--he wasn't prepared, I'm a stranger to him now. You won't be a stranger once David gets to know you, says Liz. No, says Laura, I want him to get to know me, I want him to feel close to me again--David means everything to me. She sits and gazes into the fire.[/spoiler]
I remember at some point circa 1969 when I read the first "Marilyn" Ross novel being intrigued by the references to Isaac Collins. I don't think he was ever mentioned in any of the shows I watched in the original broadcast. I started watching in late June 1968.
Fabulous shot of Laura today. Always nice to see her!
Roger comes over and orders Liz to tell him to leave tomorrow. Jason says yes, tell me to leave tomorrow, and I will, for that matter, tell me to leave tonight--you only need say the word. Say it, Liz, say it! says Roger. Stop it, she orders her brother, and Jason says yes, says it, Liz, I'm sure it won't reflect on our long, long friendship, and it certainly won't have any effect on the deep, deep understanding we've always shared. He gives her a significant look. The memories of other days, of your husband, Jason reminds her. Roger says she wants to forget completely about her husband, says Roger. Don't be so sure, says Jason, adding there are some memories he can't possibly LET her forget--so just say the word, the decision is yours, tell me to leave and I will-- immediately. "Liz, please!" begs Roger. Well, Liz, you must decide, says Jason, may I stay? Yes, of course you must stay, says Liz, stunning her brother. Liz! Says Roger, hurt. Jason smiles smarmily, saying if she wants him to stay, he will. "And thank you very much, Elizabeth, thank you very much indeed," says Jason, raising his glass to her. I'm very relieved, he says, looking at Roger, "now that we've had this out."[/spoiler](http://www.dsboards.com/epimgs/0200-3.jpg)And he raises his glass to Roger, who leaves the room in a huff. Liz sits on the sofa, contemplating her crumbling life.
Jason tells her he hopes her brother is satisfied--her invitation to stay couldn't have been more explicit. You must forgive Roger, she says, he's quite puzzled by it all. Jason forgives him. How generous of you, says Liz sarcastically. Jason says he would very much appreciate it if his stay here at Collinwood wasn't interrupted by these ugly scenes with him. We are not as you know a gregarious family, says Liz, surely you can understand Roger's resentment. He understands it, but doesn't enjoy it, says Jason--will you make sure he doesn't "express" it again? Liz rises from the sofa, walks over to him, and says she can tell him to stay when Roger tells him to leave, but she can't dictate his reaction to it. I suggest you try, says Jason. It wouldn't work, says Liz, Roger's one independent area is his temperament.
Millicent complains her headache is worse. She sees the light in the tower, and she asks if he sees it. He says no, and he will spend the rest of his life trying to understand her mind. Who lives up there? Nathan asks her. She should go up there and find out, he says slyly--face the reality. She couldn't, she says. There is no light in the tower, he insists, and she must check it out for her own good. She'd be afraid, but he says she must conquer her fear-for their lives. He refuses to go with her. She refuses to go. He says she made him so many promises, how can she be afraid to walk upstairs to a place she lives in? Even though she still sees the light, Millicent claims she doesn't see it anymore. He accuses her of telling him her first lie--she still sees the light, admit itYes, she cries, she does see it, but she doesn't want to find out what's there. You must-you will-tonight, her husband insists, and she gazes at him fearfully.
Midnite has so much more luck finding Joel Crothers' "MUST" lines than I do. [ghost_smiley]
Midnite has so much more luck finding Joel Crothers' "MUST" lines than I do. [ghost_smiley]
[ghost_wink] It's totally worth seeing your screen captures of him.
Karlen's Willie has been the bigger challenge for me in finding quotes.
Unless there's ever a slideshow about "[you've] GOT TO" or '[you] GOTTA" quotes.
If you don't...
Fabulous shot of Laura today. Always nice to see her!
And here's that shot for anyone who might have missed it:(http://www.dsboards.com/MUSTquoteimages/0902ds_2.jpg)
Roger goes into the drawing room and opens his briefcase on the desk. A large book falls from the piano to the floor. Roger turns and looks at it. He picks it up and opens it. He finds a piece of paper inside, a letter. He looks at it, puzzled. When Carolyn comes in, he tells her it's a letter addressed to his father, Jamison, dated 1887. He must have been a boy, muses Roger. "Dear Jamison, you must return to Collinwood, I need your help. You must intercede with Oscar. Only you can save me." They wonder what it means. It's signed "Quentin." Roger doesn't know the ancestor, who spent most of his time abroad, well. Roger describes how he found the letter in the book, which toppled from the piano. He wasn't anywhere near when it happened. They wonder how it could have fallen. Carolyn says SHE did it--Magda--she wanted them to see the letter. This name is unfamiliar to Roger, but Carolyn explains about Magda's spirit being in the house. She wanted them to see the letter--but why?[/spoiler](http://www.dsboards.com/epimgs/0643-3.jpg)Roger and Carolyn sit before the fire. I'd like to call it nonsense, he says, the seance, the book falling, but I can't--neither of us imagined what happened tonight--what is the significance of the letter? "Stop them!" bursts out of Carolyn's mouth. She doesn't know why she said it, or what it means--it was Magda speaking through me, says Carolyn, a warning. Roger doesn't understand, but Carolyn says Magda is still there, speaking through her, warning them--someone in the house is in danger, and it could be any one of them.
Diana Millay certainly looks the archetypal mid-60s soap opera star!
Sandor joins Magda at Jenny's grave. He helps her to her feet, telling her they will go back to the house now. Magda wants to stay longer. We must leave tonight, insists Sandor, because when the curse begins to work, our lives will be in danger. Patting her husband's hand, Magda assures him, I know of protection for us, but the Collinses will be in danger--each of them could be a victim of Quentin's curse--I don't want to leave, but stay and watch them be destroyed, one by one[/spoiler]
Love today's shot of Magda and Sandor!
This was right after Magda had put the big curse on Quentin, if I recall aright.
Then she found out she'd cursed her own family. One of the best DS storylines
Paul insists, I never loved any other woman. You never loved anyone, says Liz--what do you want from me now? Nothing, he says. Good, she responds, because that's exactly what you're going to get, from me or any Collins. If you still call yourself a Collins; why did you keep my name? He asks. For Carolyn, she says. I'm glad you admit that, he says, because if Carolyn has MY name, she is partly mine. Did you think of that when she was a child? demands Liz--when she was growing up? No, and it was a terrible mistake, he says. You're always willing to admit to your mistakes, she says, then make them all over again--I have made a new life for myself! You've simply returned to being a Collins! Shouts Paul--a lifetime occupation for you. There was a time you weren't ashamed of the Collins,' she cries, or did you want to be connected with them so you could steal? What did you expect? He asks--I never got love from any of you. You must give love to get it, says Liz. Carolyn loves me, I know that, he says--so I can love! Carolyn made a mistake, says Liz--get out of town, Paul, I mean it. Where shall I go? he asks, where can I find anything--answer me, where can I find anything? Go back to that successful life you were boasting about, she suggests.[/spoiler](http://www.dsboards.com/epimgs/0899-2.jpg)It's true, he says, but lately, things haven't been going so well--it could happen in any man's life and will straighten itself out. I don't care if it does or not, says Liz, but if you stay in Collinsport, I will make sure it's a visit you won't forget.
Another great photo today--the lighting on Joan's face and the drab curtain backdrop carries a hint of film noir.
The return of Paul Stoddard was another great storyline that was run abruptly into the ground, most likely due to Dan Curtis's interference with the plot.
And from what I've read, that had to do with all the hate mail fans sent in complaining about a storyline in which Barnabas was evil and duplicitous--just as he had originally been in 1967.
Caught in Yaeger's strangling grip, Buffie battles for her life, begging, let me go! Why should I let go? demands Yaeger, you're like all the others--you have to be trained. She frees herself, pushing his arms away. Like a dog, you have to be hit to learn, he insists. He pulls her arms behind her back. Let me go! she cries. You haven't learned your lesson yet, he says. You're hurting me! she protests. Just a little, says Yaeger, just so you'll learn to do what I say--you will, won't you? He wrenches her arms painfully behind her back. Yes, she says, falling into a chair, crying. He lifts up her head, gazes into her face and observes, how pretty your tears are. You're insane! she cries. I'm not, he says, I know how to live, how to get things from people, how to make anyone do as I say--an invaluable thing to know, something you must learn unless you want to live the rest of your life like this--you don't, do you? What do you mean? she asks, facing him. I want to give you the finest things, he says--money, furs, and riches--I'll give you anything, I want to make sure that you have everything. She pushes him away and stands. You don't want me to know how much you want them, do you? he asks breathlessly, laughing--I know you better than you know yourself, and you'll know that soon. You don't know me at all! cries Buffie angrily.[/spoiler]
Great shot of Yeagar and Buffie.
It's at least a quarter of a century since I last watched these episodes. It looks somewhat early on because Chris seems to have the nose prothesis on. They had to abandon that, if I recall correctly, when it started coming off during one scene.
Those studio lights were hot. I always feel for Thayer in those scenes where Petofi had that big fur coat on. And he was already wearing that huge Petofi wig...
Old House - Laszlo enters very slowly, trying not to make a sound. He whispers, "Angelique." Gypsy, says Barnabas, what are you doing here?--did you come to tell fortunes again--or to steal? Laszlo stutters that he came to deliver a message. So you simply walked in the deliver it? asks Barnabas. No, I was looking for someone, the gypsy says, nervously pacing--I was looking for someone, a servant--a house like this must have servants. Who is the message for? asks Barnabas. Are you Barnabas Collins? asks Laszlo. You know I am, we've met before, says Barnabas. Laszlo says it's for him--from a man in the village--he gave him a gold dollar to tell him it would be worth Barnabas' while if he met with him tonight at the Eagle Inn at midnight. What man? asks Barnabas--how will I know him? He'll know you, says Laszlo. Your answers come too easily, decides Barnabas--describe him. The gypsy says he's tall, well-dressed, with the air of a gentleman about him. Heavy-set--with gray hair? Asks Barnabas. Yes, agrees Laszlo--you know I'll be leaving now. Barnabas grabs hold of him, saying, "There is no such man--now what do you want?--why are you telling me some absurd lie?" Let go of me! demands Laszlo. Barnabas says not until he tells him the truth. They struggle, and Barnabas catches sight of--"Julia's ring!" No, says Laszlo, it's mine, it's mine! Where is she? says Barnabas, his face more animal than human[/spoiler](http://www.dsboards.com/epimgs/1148-3.jpg)--you're Angelique's servant, aren't you?--you came to see her--tell me where Julia is!--and he begins strangling the gypsy.
Nice to see Michael Stroka in the role of Laslo today.
Very atmospheric shot.
I've never understood why Stroka was written out so abruptly. I presume that he had found another work opportunity, most likely on another soap, and I'm sure he worked on DS without a contract--so many did.
The front door bursts open. Mrs. Collins! calls Harris, carrying Melanie in his arms--I found her lying in the woods. Ben Stokes is with them, too. They all run into the foyer, Kendrick calling, Melanie! He takes her from Harris. Put her on the sofa, orders Julia. Everyone gathers around in consternation. She must have been attacked by something, suggests Stokes--some kind of wild animal. Look! cries Julia, pointing to two bite marks on Melanie's neck. Harris, get a doctor, says Flora. Kendrick, horrified at the sight of the bite wounds, asks Melanie, "What caused them?--tell me!" Bramwell stares down at the marks. What could have happened? wonders Flora. What kind of animal would attack her like that? asks Julia. Says Ben Stokes, "If I didn't know better..."[/spoiler](http://www.dsboards.com/epimgs/1245-7.jpg)Yes, Stokes? asks Kendrick. "If I didn't know it wasn't possible," says Stokes, "I'd swear there was a vampire at Collinwood."
Today's scene was a dramatic, traumatic event for many viewers in 1971.
We all said, "No, it can't be! Dark Shadows MUST go on!"
Nevertheless here we all are, fifty-some years later, still enjoying our favorite show.
Listen closely, says Liz, you made a threat to Miss Winters, and I don't want any more of that--she's going to stay here, tutor you, and you're going to cooperate--is that quite clear?[/spoiler](http://www.dsboards.com/epimgs/0036-3.jpg)All she wants to do is get me in trouble, pouts David, arms crossed over his chest. I don't think you need her help for that, says Liz, not after what you've done. He rises from the chair and anxiously says he didn't do anything. Sit down, she says, and he does. You almost got your father killed, Liz reminds him, and that wasn't Miss Winters' fault. But I... begins David, but she warns him not to try denying it to her, not now. He sits back, angry. You hate me, just like everybody else does, he says. Liz assures him she doesn't hate him, if she did, he wouldn't still be living in her house--but she is angry with him, very angry indeed. I don't care, he says. You'd better start caring, advises Liz--the world isn't a very happy place for boys who don't care what other people think--it's lonely and cold--and I don't want you living like that. You want to send me away, just like my father does, accuses David. Annoyed, Liz asks if she hasn't already...there will be no more talk about sending him away, the accident, or any of it--that's all past--what they will discuss is the future. David rises and says, Miss Winters. Yes, says Liz, I brought her a long distance to help you--and I don't want any problems--you're going to listen to her and do as she says. What if I don't? he demands. Don't make me answer that, she says, I'm not asking much. You like her more than you like me, he says. Is that all you can say? she asks. But it's true, isn't it? he asks--you always said you loved me, isn't that what you said? Of course, I do, says Liz. Well I don't believe it, says David, wounded, not anymore! Liz rises and goes over to the boy, pulling her nephew against her chest and holding him close. Help me, Aunt Elizabeth, he pleads, holding tightly to her, help me! I'm trying, sue says, but you've got t help, too! I won't do anything else bad, I promise I won't! he cries--but you mustn't stop loving me. (Poor baby!) He looks up at her. You're my family, how could I stop? Asks Liz. Easily enough says Roger, entering the room--just look at the boy and realize what he is--a potential murderer. David's face is guarded again. Roger! chastises Liz. It's the truth, isn't it? Roger asks her, unless you prefer to ignore the truth--(with immense sarcasm) it's truly a pleasure to come home from a nice friendly chat in town to be greets by the smiling face of my beloved son!
Josette's room will be occupied quite soon, says Barnabas, but this time, his bride will come of her own free will. Barnabas doesn't want to waste any time. Aside from that, it's been too depressing around here lately, and Barnabas wants to throw a party"This house must become a more inviting place, insists the vampire. He'll throw a costume party, and Vicki will wear Josette's dress.
Today's photo made me smile.
According to fan gossip, the dialogue originally had Barnabas musing: "I've got to find a way to make everyone relax more around me. I know, I'll throw a party and then get them all stoned on claret cup, making up some story about Willie messing up the hors-d'oeuvres and thus providing an excuse for why I haven't gotten any food for them! Then Vicki MUST feel sorry for me! It's a plan!"
Millicent enters and asks for Barnabas. He's in England, says a nonplused Joshua. Surprised, Millicent says she thought they would want someone to defend her honor, and Barnabas had the dueling experience--I saw him at Jeremiah's grave. You're ill, says Joshua, and asks Naomi to take her upstairs. I have been ill all my life, says Millicent, sounding loony, but I've never been alone until now--Barnabas must kill Nathan--I suppose it would be in the course of a technicality, like a duel, but he must kill him--Nathan was married!--Suki was Nathan's wife
Mad Millicent... Nancy played these outrageous scripts so brilliantly, and that's a great photo of her!
Jeff, in his bed, mutters "Forbes, where are you?-I'll kill you." Tossing and turning, he drifts off into another dream in which, he confronts Nathan Forbes with a gun. After a heated discussion, he finally fires at point blank range. Nathan does not fall, but merely laughs and laughs. Jeff/Peter looks on in amazement, wondering why the shot failed to kill Nathan. Forbes just laughs some more. You can't kill me, he finally explains- I'm already dead! Jeff, in his bed, again cries out. Joe, asleep on the sofa, hears him and rushes into Jeff's room to see what's wrong. He shakes Jeff awake.[/spoiler](http://www.dsboards.com/epimgs/0524-4.jpg)Jeff opens his eyes, takes one look at Joe, then scream out. "Forbes, I'll kill you!" Leaping out of bed, he begins strangling Joe!
"Of course you don't want to go!" cries Laura, kneeling to clasp her daughter's arms--"You'd much rather stay with me, wouldn't you?" Yes, says Nora. Laura asks her to get Jamison and bring him here--I don't think Edward will allow me into the house. When he sees you? asks Nora. No, says Laura, I have a better idea, a way you won't have to go to that school--bring Jamison here and the three of us will go away--and we'll be together always. Nora doesn't want it to be that way, nor does Jamison--we want you with us, as it should be--why can't it be that way, why? demands Nora. Laura doesn't know--perhaps it can. She agrees to go to Collinwood, but not right now--soon, very soon, promises Laura, and tells her daughter to go home. Nora fears if she goes back to Collinwood, her mother will disappear again! Laura assures her that won't happen--I want to be with my children--I can't come now because there's something I must do before I come back to Collinwood. You aren't just saying that, are you? asks Nora. No, Laura assures her, and gives her something to prove it--a scarab she removes from her dress--a "special good luck charm" found in a faraway place--I was told never to be without it, but I want you to keep it, as a reminder that I will keep my word. Nora examines the scarab and says, I see the same kind of symbols I made in my drawing. Father was very angry at me--he thought Quentin had taught me.[/spoiler](http://www.dsboards.com/epimgs/0730-1.jpg)This disturbs Laura--is Quentin back at Collinwood? Yes, says Nora, he came back just before Edith died. "I see," says Laura--go back to the house. Nora wants to talk to her a little longer, but Laura says, keep our meeting secret--you can only tell Jamison, no one else--I want my return to Collinwood to come as a surprise--to everyone, she adds, grinning.
Nice shot of Laura and Nora today.
I feel a pang thinking of our dear Denise. May her spirit know peace.
Michael locks the shop, then turns to David and accuses, you ran to Barnabas and told him I let Amy in the room. I only did what I had to do, says David. You shouldn't have done it, says Michael--it made me very angry. He crosses his arms over his chest. David apologizes. That isn't enough, insists Michael--I'm going to have to teach you a lesson--anyone who displeases me HAS to be punished! How? asks David nervously. How would you like to spend the night right here in the shop, all alone, where it's nice and dark? asks Michael. Frightened, David says, I don't want to stay here alone. It's just an antique shop, says Michael, there's nothing here to hurt you. Where are Megan and Philip? asks David. In their room, says Michael, and that's where they're going to stay--do you understand that? Yes, David answers. There are some rules you have to obey, says Michael--be very quiet, stay awake, and you may not call for help--no matter what happens. David gulps. Good night, David, I hope you enjoy yourself, says Michael. He heads upstairs.[/spoiler]
Drawing room - Hannah tells Angelique, I tried the Tarot cards, they told me nothing, and their silence frightens me more than anything else. You won't need the tarot cards, her niece assures her--I will tell you what to do. Hannah notes that Angelique looks frightened, too. I'm not, nor am I disturbed, retorts Angelique--I'm annoyed with charming Dameon, who irritated me in both life and death--I can sense him in the house, sense his presence--don't you? Yes, he's near, very near, agrees her aunt, but there's nothing I can do about it. Yes there is, insists Angelique. It's dangerous, warns Hannah. You must only call me Alexis, Angelique says sharply. I'm sorry, says Hannah, but this is too dangerous for me. Nonsense, scoffs Angelique--listen carefully. Before she can speak, Quentin joins them[/spoiler]
Marry you? asks Daphne. I've loved you from the first moment I saw you, admits Gerard, the day Quentin brought you in and introduced to me as his governess--you see, I'm not afraid to mention his name (she turns away), but you don't want to hear it, do you--tell me how you feel? Afraid, she confesses. Yes, he says--afraid to say yes, afraid of the proposal. You know me so well, she says. So very well, he assures her. Better than anyone else, I sometimes think, she says. Isn't that what love is, he asks--isn't it?--when two people know each other so very well?--I know you're upset about Joanna's return. I'm glad my sister's alive, insists Daphne. Are you? he asks--of course you are--however, it does change things around, doesn't it? She walks away from him. He pursues her--although you aren't willing to admit it right now, he says, your life is changing, isn't it?--Quentin used to mention Joanna quite a lot aboard ship. Quentin and Joanna had broken up long before that trip, protests Daphne. But he still couldn't get her out of his mind; he could never forget about her, says Gerard insidiously--does Joanna still love Quentin, Daphne? I don't know, she replies, upset. Are you sure you don't? he asks. I haven't had time to think it out, she insists. This is the time, isn't it? he asks--you see you are depending on me, and that's the way it should be--he puts his hands on her shoulders and says, "Daphne, you must marry me--I will show you new worlds you've never seen before, wondrous new lands, I know that sounds fascinating for you, doesn't it?--you will admit that, at least." Yes she says uncertainly. And under that fascination, he says, his arms around her waist, you know something is missing--something that does exist--love--and it's time, Daphne, you learned about it. They're standing at the foot of the bed now, about to kiss, but Samantha barges the room and catches them. Well! she says severely, isn't there something you should be doing, Miss Harridge, instead of looking around the house? You will remember what I told you, Daphne? murmurs Gerard with a chuckle. Yes, she says, and leaves. So this is where the lovers meet! accuses Samantha. What a suspicious woman you are! complains Gerard--I merely come here because I want quiet and peace!--and a little chance to think--she had no idea I was here--she was rather shocked at Joanna's return, so I thought perhaps I could help her. You're so concerned about her, says Sam nastily, you can't leave any woman alone, can you?[/spoiler]
Vicki apologies for being so late--she had trouble getting a taxi. Liz asks if she has her letter. Yes, says Vicki, it's in my purse. May I see it, please? asks Liz (a lack of trust)? I've never been in such a big house, says Vicki, as Liz opens the letter--how many rooms do you have? 40, but not all in use, says Liz--it's quite cold--I put on some tea--would you like to wait in the drawing room? Vicki thanks her. 40 rooms! She says, you must need a lot of people to help you take care of it. I have one man for the heavy work, we do the rest ourselves, says Liz coolly--and she heads into the kitchen area.[/spoiler]
Today's capture from episode 2: WOW! Lela Swift certainly did an outstanding job putting together the visual aspect of the show at its beginning. It's been 8 years since I saw that episode, and I had forgotten that amazing, moody angle on the foyer.
Today's shot is one of my favorites in the entire series. It establishes the spooky grandeur of Collinwood so well.
I'm sorry I missed Nicholas if he was featured yesterday
Julia goes to the Old House and is further alarmed to learn that Burke gave Willie the third degree, too. She firmly says she's got to stop Burke, his suspicions could ruin everything![/spoiler]
What kind of monster are you? Asks Joshua--did you kill Suki? Barnabas says he had to protect himself, and when he denies attacking Millicent the previous night, Joshua is angry--he believed there was an honesty between them, at least. There was, says Barn. What about your mother? asks Josh--you murdered again, to protect yourself, he accuses--you knew there would be more, shame and scandal-uou attacked your own cousin last night. This one Barnabas denies. He didn't attack Millicent--I had to kill--I couldn't stop, I'm under a curse, and couldn't help myself. You were better off thinking me dead, says Barnabas, and Josh says he'd prefer it. Barnabas agrees that he'd be better off dead, but still feels compelled to survive. Josh wants to turn his son in, but Barn asks about sitting in the courtroom admitting to be one of the living dead. They both agree it would kill Naomi. Josh calls for Ben, but Barn grabs his father from behind. Joshua pushes him away. It horrifies Josh to know Barnabas hates him so much, he would kill even him. Barnabas explains that he tried to make sure Naomi never knew--could he put the family through a trial? He asks Joshua to promise him to make Naomi believe him still dead. Joshua takes his pistol and leaves it on the coffin. "You know what you must do," he says. Taking a chance, Father? Asks Barnabas. Only one of us will leave the room alive, says Josh, and Barn must decide that for himself. Neither of us can kill the other, says Barn. If you have any sense of honor left, says Joshua to do what must be done. . .and hands his son the pistol.[/spoiler]
Love the look Frid is giving Lou in today's photo.
11:30 at Collinwood - Cassandra exits the drawing room, looking impatient. Nicholas comes in and tells her he knows how to find Adam-but he won't tell her. Cassandra says to find and destroy Adam, but Nicholas says Adam must live. But my curse! Protests Cassandra. Nicholas doesn't care; Adam is going to be the first in a whole new species of man, and he will find him, study him and learn how he was created. He orders her not to argue with him, Adam will live. If she tries to destroy Adam, HE will destroy HER, permanently-this is fair warning, says Nicholas.[/spoiler]
FABULOUS shot of Nicky and Cassandra today!
Edward promises not to let Jenny near him again. Quentin says it already happened once, but Edward assures him it won't happen again. "Your pomposity is disgusting," pronounces Quentin, "oh, Edward, you're so brave and proud, and enjoy your role as custodian of the family secrets." Quentin chuckles--you've conquered all of us, and we know we've been wasting our lives because you will always be here, pasting us together again, to perpetuate the myth of family honor and dignity--"You're everything each of us is not--solid, strong and honest--and your mind is hermetically sealed!" We've only discussed MY wife, says Q, we haven't gotten around to yours. And we aren't going to, insists Edward. Why haven't you asked me about Laura since I returned? Quentin asks. I don't care, Edward says. "But Edward, she's your wife--now surely you must be curious as to what became of her when she followed me out of this house and halfway around the world." (Ah, now we understand why these two hate each other so much--once again, Q was a bad boy.) Not in the least bit curious, says Edward, she no longer exists for me. Quentin tells him, flippantly, I last saw her in Alexandria, Egypt. Edward doesn't want to hear more, and forbids him to mention her name in this house.[/spoiler](http://www.dsboards.com/epimgs/0728-2.jpg)Quentin laughs, liking that--it's so like you!
Megan comes down and asks, am I to be punished? This is no time for punishment, says Barnabas--you thought what you were doing was right, even though it wasn't, and I understand that--now you must try to understand--what your true responsibility to the boy is. I love him very much, she says, her eyes alight. As it should be, says Barn. Megan gushes, he's the most wonderful child in the whole world, and even though I know what I almost did was terrible, I fear I've let Michael down, and am afraid to face him when he comes back. Michael has caused a great deal of friction between you and Philip, hasn't he? asks Barnabas. Yes, says Megan defensively, but it's only because Philip refuses to understand him, makes no effort with him. And you feel your love for him requires you to do anything he asks you to do, don't you? asks Barn. Yes, says Megan, as if it's a religious experience--how can I refuse him anything, he's so wonderful? You can, says Barn, because your first allegiance isn't to him, but to me. What do you mean? demands Megan. Exactly what I said, says Barnabas. Her face changes--that's impossible, she hisses, he is the one I serve! Are you sure you're all right? he asks--perhaps it's time to--reconsider. Why? she asks, his is the only way, his cause must be served--why do you doubt that? No, I don't, says Barn, I was only testing you, making sure YOU have no doubts--you're very good for him, Megan, but you love him too much, are blind to his faults--love him less, see him as he is, be strong and firm, comfort him, discipline him, protect him--mother him. She goes into Barnabas' arms and hugs him--I'm so glad you came when you did., she says--I only wish Philip could understand me as you do--now, what are we to do? I'll tell you what is to happen now, says Barnabas--do not grieve for Michael. Megan looks ready to start grieving right now.[/spoiler]
I hope Count Petofi shows up eventually.
Tell me what happened, he says--that creep, Willie, what's he done?--he way you're acting, he must have done something. No, says Vicki. What about his friend, McGuire, asks Burke--what's he been up to? Nothing, she says. You wouldn't lie to a guy, would you--unless you thought he was asking questions that were none of his business, is that it? Not really, she says. They must have done something, he insists--what are those jokers up to? Carolyn has to use a gun to keep Willie away, reveals Vicki--she said it was the only thing that stopped him. Then there's only one thing to be done--tell Liz, says Burke. She knows, says Vicki. What's the problem--she gave him his walking papers, didn't she? asks Burke. No, says Vicki, she told Mr. McGuire about it. She told Mr. McGuire about it--are you kidding? asks Burke. No, says Vicki. That's all she did? asks Burke. Presumable Mr. McGuire spoke to Willie, says Vicki. The next thing you're gonna tell me is Carolyn had to apologize--what's going on up there? I wish I knew! she says. I can't believe Liz would allow something like that to happen and do nothing, he says. She did speak to Mr. McGuire, says Vicki. That's next to nothing, he says. Maybe Mrs. Stoddard is right, muses Vicki--maybe we do lead such a sheltered life up at Collinwood that we let people upset us when they haven't really done anything. Perturbed, Burke asks her if she believes that. No, not at all, she says.[/spoiler]
Sunday's quote:
Ep #2 (1966) - Vicki - 'Forty rooms! You MUST need an awful lot of people to help you take care of it.'
Friday's quote:
Ep #1245 (1841PT) - Stokes - 'She MUST have been attacked by something-- some kind of wild animal.'
Cottage - Maggie is annoyed--she can't find her keys--maybe Sam left with both sets? Joe says they can stay home, but she wants to find them. Joe suggests she check her purse, he didn't see her do so. She opens her purse--the keys are there! She also finds the diamond and emerald earrings. Josette's music begins to play. Joe swears he didn't give her the earrings; he couldn't have afforded them. Sam couldn't, either--how did they get into her purse? Joe suggests she ask Sam, and if he didn't give them to her, turn them over to the police--she'll get them back if no one claims them. Maggie admires them in the light and says the woman who wore them must be beautiful. All you need is money, remarks Joe, but Maggie says she thinks of someone lovely, elegant and--sad owned them. Joe says she has sentiment and imagination, but she says they remind her of something she's forgotten. Joe tells her to put them safely away so they can go out, but Maggie feels compelled to put them on. Josette's music plays, and she admires the beautiful, thoughtful gift. Joe wishes they were from him, and she says only a man who had gazed into her eyes with deepest love would know they were meant for her--in a very Josette-like voice. Joe eyes her uncomfortably, she's getting carried away. She thinks he looks worried--why? He's surprised--he didn't think she was the diamonds and emeralds type. Laughing, she assures him she loves a good book or a box of candy as a gift any day of the week. She hugs him and says the earrings are different. He agrees they look special. She's never felt this way about jewelry--she feels drawn to them. He agrees they're beautiful, any woman would love them.[/spoiler](http://www.dsboards.com/epimgs/0494-2.jpg)It's more than that, she says dreamily, and he gets kind of angry and tells her to put them away until their owner can be found. She takes them off and says he must admit they're really exquisite--there's nothing like them in the world.
if, as in the case of Portia Fitzsimmons, she has any "MUST" quotes at all...
Aristede finishes locking Barnabas in his coffin. Petofi exults that they can give Barnabas more attention at the mill than they could in the west wing of Collinwood. Barnabas will be surprised to find himself here when he wakes, says Aristede. I don't think so, says Petofi, putting his right hand on the coffin; Barnabas and I have been at war for sometime, this is one more battle in this war--the last one--it will go on until Barnabas gives me what I want. It will be difficult to get the vampire to give up his mission in this time, says Aristede. Difficult, admits Petofi, but he assures him, I shall do it--military strategy, doing what it takes to win any crucial battle--increase the pressure and increase the enemy's discomfort until he can stand it no longer. Petofi balls up his fist--until he has no choice but to surrender. Aristede asks, how will you increase the pressure? Thus far, says Petofi, only those whom Barnabas cares for in this century have suffered--now I shall attack from the other side, hit him from both directions and catch him in pinchers from which he can't escape until he gives me what I want. Now I will start working on those Barnabas loves in 1969. Aristede points out, you cannot see that time; how will you know who those people are? Barnabas mentioned one name with whom I can begin, says Petofi, and realize he must return to his own time, and take me along--David Collins, of course. Petofi grins in triumph.[/spoiler]
It's Count Petofi! So much love!
And look at the lighting in that shot. Gorgeous! Like a Mario Bava film!
Nicholas begs for a second chance, but the Master tells him he doesn't give second chances, nor sympathize with those who do. No, Nicholas was given an opportunity, but because of a woman allowed it all to slip away.[/spoiler](http://www.dsboards.com/epimgs/0629-4.jpg)Nick implores his boss for a little more time, he can prove himself. That's what every condemned man needs and never gets, sneers Diabolos, just a little more time. Nick says everything can be salvaged, but the Master reminds him that Eve is dead because of your negligence--and you can't use supernatural powers to bring her back to life. No, protests Nick, the experiment will be performed again and Eve will be reborn. Diabolos gives him 48 hours to accomplish what he must. Nick protests it isn't enough time. That's all you're getting, says Diabolos--you are free to go for as long as it takes for the experiment to be completed, then you will return here. But if I succeed? asks Nicholas. You haven't succeeded yet, Diabolos reminds him, but, if Eve is restored to life, we shall see. I don't want to return here, says Nicholas. No one ever does, intones the Master. If I give you what you want, I deserve more, insists Nicholas--to remain on earth, without my powers. How will you survive? wonders Diabolos. Perhaps I wouldn't, says Nicholas quietly--it's because I want Maggie with me, admits Nicholas--I love her very much. The Master pronounces Nicholas hopelessly lost--no wonder he made such a mess of things--when the experiment is over, you must return to hell. I won't be allowed to be with her? Asks Nicholas. I didn't say that, says the Master--your story has touched me--I mean that you can be with her. Nicholas is excited. Then the Master drops the other shoe, "But only here." "But that would mean she would have to die," protests Nicholas. Yes, says the Master--arrange it--there is something else that must be done before she can be accepted here--she must be sacrificed on the black altar. No, protests Nicholas. It's the only way you can be with Maggie, says the Master--the black mass must be performed!
And now Diabolos and Nicholas! You're hitting all the greats this week!
Mausoleum - Julia stands beside Barnabas' coffin. She listens outside the door, touches the coffin once more, then opens the secret panel and leaves the tomb. Carolyn darts out at her, demanding, what are you doing in there? Julia, startled, says, I was seeing who is buried there--"I am interested in the Collins family." Carolyn shakes her head, shushing her. You shouldn't say that name, warns Carolyn. It's a proud and honorable name, states Julia. Is it? asks Carolyn, who giggles and says, "Perhaps once." Julia insists, you must remember--tell me, she says, what were you doing here? Carolyn thinks that one over, grins and makes a noise, but no response. You and I used to be honest with each other, Julia reminds her, let us be again. I'm looking for my mother's grave, says Carolyn...no, my mother isn't dead--is she? You tell me, says Julia. No, of course she isn't, how silly of me, says Carolyn--I like this cemetery, don't you--I find it peaceful, so many things are peaceful I didn't expect to be--Collinwood is peaceful now. What makes it peaceful? asks Julia. Carolyn gazes at her and laughs--time, she says...time--I never go here, you know--why should I?--I have everything I want where I am--my mother's ink well, and a portrait or two...where is your friend--where is (viciously) BARNABAS? In the village, says Julia. Is he? asks Carolyn, are you sure? Quite sure, says Julia. What's he doing there? asks Carolyn, sounding like the Inquisition. Trying to find out what you wouldn't tell him, says Julia. Carolyn bursts into cackles of laughter. I think you're deliberately trying to stop us from finding out, says Julia, and are acting this way for a reason. I act the way I am, laughs Carolyn, clasping her hands together. I don't believe that, says Julia. Her laughter cuts off abruptly; Carolyn says, if my mother were dead, we would have buried her here, wouldn't we?--we wouldn't have buried her in some strange place? No, says Carolyn, answering herself, she would be here. Carolyn, says Julia. The blond says, in a warning voice, "You'd better go and find your friend, Julia--before he gets into trouble!" Julia looks uneasily around and walks away. Carolyn stares after her. A hatted, ancient Eliot Stokes exits his hiding place in the bushes and joins Carolyn. You see, I told you, she says, you must make them go--you must. He nods, and agrees: "WE must."[/spoiler]
Woods - Jeremy leads Carrie home. You must not come any farther, she warns. Of course I'll come farther, he says, I'm taking you into the house. Please, she begs. It's a night to storm the citadel! He insists. Then they'll know I've been out, she protests. It's time they knew, it's time everyone knew! he says grandly--I'm willing--are you? She nods; he kisses her. The enter Collinwood together. He looks around--I feel quite at home here, he says. Go, she urges, before someone comes. A door opens; standing there is Mordecai Grimes! Jeremy! cries Carrie.[/spoiler]
Drawing room - It pleases me to see you looking so well, Alexis, says Hannah, especially after what you've been through. Her death came as quite a shock, admits Alexis. Death--is that all you call it? asks Hannah. I don't understand, says Alexis. My friend Bruno mentioned something about a seance, says Hannah, in which you participated, where the word murder was spoken. Alexis, who has been tearing the hell out of a handkerchief, says, I don't wish to discuss it[/spoiler](http://www.dsboards.com/epimgs/0992-2.jpg)--I'm sure you've been given the information from your dear friend, Bruno. Hannah sneaks the handkerchief off the table and into her sleeve. Only the vaguest outlines, says Hannah, I was sure I'd get the details from you. I'm afraid not, says Alexis coldly. But my dear child...protests Hannah. I don't want to seem rude, says Alexis, but I have never been your dear child, anymore than I was my father's--I'm sorry, but I do have other things to do today. I've upset you--forgive me--I can come another time, says Hannah soothingly. She runs into Quentin as she's leaving, and chirpily says, don't ask me to stay; I've upset Alexis terribly and must leave at once--no no no, don't try to see me out, I know the way. To Alexis, she says, I'll see you again--I promise we will discuss nothing troublesome--now take good care, my dear Alexis, goodbye--she closes the double doors. Sourly, Quentin asks Alexis, what was that all about? Bruno sent her, says Alexis, annoyed. Why? asks Quentin. I wish I knew, says Alexis--just harassment, I suppose--she knows I don't particularly like her, and never has, and the moment she walked in here, she immediately began to talk about Angelique, and the possibility she had been murdered--it sometimes gets to be too much. I promise to do what I can to clear things up, as soon as possible, says Quentin.
OMGss--AUNT HANNAH!!! Just in time for the weekend!
Not only is that a fabulous shot, but I don't recall Hannah ever being seen in a skirt--I recalled her being stuck with the same pantsuit in EVERY episode in which she appeared. So I'm all the more delighted with this photo!
Drawing room - Minerva tells Rachel the day she and Tim left was the most tragic day of Rev. Trask's life. Why did you call me a murderess? demands Rachel. Minerva prefers to let her stew. It's not easy to tell of it, says Minerva, but the Reverend, that poor, fine man, has never been the same. Rachel insists. Minerva says Trask will take you to court for stealing if you don't return to the school and fulfill your contract. Rachel asks again about the murderess accusation --why? My brother died that night, says Minerva--Simon, the best man the world has known--he was killed by thieves. I never even saw the man, insists Rachel. This causes Minerva to cry "thief, murderer and liar" at her. Rachel denies all. Minerva insists, you surprised Simon in the kitchen and hit him with a fireplace poker and left him for dead. I didn't go there, cries Rachel, Tim went there for food, but...uh oh!--Tim didn't say anything about that, that anything happened in the kitchen--and he wouldn't do such a thing. Well, Minerva informs her, Tim already confessed to doing it. Rachel is horrified. Tim returned to Worthington Hall, where he belongs--where Rachel belongs, says Minerva. Poor Tim, laments Rachel. If you miss him, you can see him soon, says Minerva, let me guide you as I have before--come back with me--don't be foolish--aren't a few years with people who love you better than many years with strangers in prison? They wouldn't send me to prison, says Rachel--I'm not a murderess. Minerva tells her that the innocent must suffer, Providence sometimes tests them by putting them in jail--or the gallows-- much as the Reverend would regret it, he'd have to tell the authorities about the thieving and murdering that took place that night--it would break his heart, just as it would break Rachel's neck, but he'd have to![/spoiler]
And now it's Minerva's turn! Fabulous shot!
Minerva with the flames on each side of her...PRICELESS!!
Great shot of Vicki today. And I loved the one of Liz yesterday. I have no memory of either of these shows.
Adam practices what Nicholas told him-"Take what I want! Grab it! You are a man, men fall in love, Nicholas says so," he tells his reflection. "Take what you want! YES! YES! Carolyn! Carolyn, Carolyn, Carolyn!" (uh oh, this isn't good!) He unlocks his door and creeps out. Carolyn follows him back to his room, clearly angry. What is this about? she demands, what are you doing out of your room? Belligerent, he orders her not to speak to him that way. Anyone could have seen you, she reminds him. I shouldn't have to hide, he tells her--"I am a man!" Carolyn says she isn't arguing that, but there are reasons for him being there. She tells him she knows it can't be pleasant. When you come, it is, he says, calming down. I can't spend all my time here, she tells him, knowing he doesn't understand--my mother is ill. You're pretty, he tells her. I'm upset, she explains--I won't be able to keep you here any longer. He again tells her how pretty she is. I heard that, says Carolyn--but there are more important things to discuss. Adam disagrees. What's wrong? She asks, what happened?--are you bored and tired? I'm tired of being alone, he replies. She offers books, a radio--but someone might hear it. She offers to call Stokes to come see him. Adam refuses--Stokes teaches me to be polite, complains Adam, and no one gets what they want being polite! I don't have time for this, says Carolyn--Vicki is waiting to go into town with me. Adam locks the door. "Stay here," he orders--"Listen to me!" She orders him to unlock the door, but he refuses. You agreed to be locked in here, and understood the conditions by which you could stay here, she reminds him sharply--do you want to leave? No, he says. I'll call Stokes and tell him we must make other arrangements, insists Carolyn. I want to stay here, protests Adam, caressing her face. "I love you," he says. "No," she says. She flings his hands off her and backs away. I love you--and you must love me! He cries. You don't know what you're saying, she says--you don't understand about love. He grabs her into his arms. She orders him to let her go. He presses kisses on her hair, her face, telling her, "You do not love me--you will." "Adam, please," she begs, struggling in his grasp--"It's not possible." "Why?" he demands, still kissing her. You're hurting me! She screams--let me go![/spoiler]
Drawing room - I have no intention of continuing this discussion, Liz tells Burke, and I wish you'd remember that you're not welcome at Collinwood. She rises from the sofa. Burke rises from his chair. I know, he says. Please leave, she says. I didn't come up here to ask you any questions or tell you what to do, he says. Then why are you here? she asks. I came to tell you something that I know, he says. I'm not sure I'm interested, she says. He's only trying to help, says Vicki gently. I don't need any help, and I must say, I'm rather annoyed with you. Sorry, says Vicki. It's bad enough you consider it necessary to discuss what happens at Collinwood with outsiders, but to go to Burke! says Liz. She didn't come to see me because of that, at all, says Burke, she didn't want to tell me anything about what's going on at Collinwood, I had to drag it out of her--and for your information, she tried to stop me from coming here. Well, says Liz, if you won't follow her advice, then perhaps you'll follow mine--I suggest you leave. Not until I say what I've come here to say, Burke insists. Then say it quickly, says Liz. There is a very dangerous man living in this house, he tells her. Really? she asks. Yes, he says, I've seen this guy in operation, if Vicki hadn't been there, I hate to think what would have happened. Is that what you came to tell me? asks Liz--that you and Willie almost had a fight?--really, Burke! It wouldn't have been an ordinary fight, because he's not an ordinary man, says Burke--he's dangerous! Thank you for your information, she says curtly--and now may I say goodbye? She goes to the fireplace, dismissing him. Liz, says Burke, if you're in trouble... The only kind of trouble I have is with people like you, she says angrily, who interfere in things that don't concern them! I want to help, he says, I know that's hard for you to believe, but I do. Why would you want to help me? she asks--you've always hated me, you know that. I don't hate you, he says--the Collins family and what it stands for--that's what I hate--please, Liz, you need help--what kind, I don't know, but I want to give it if I can. (I always knew he liked and respected her.) I repeat, I do not need any help, just peace and quiet, she says. I give up, says Burke, exchanging glances with Vicki, but you can't say I didn't try. I'll get your coat, volunteers Vicki, and leaves the room. Burke starts to walk away. Liz thanks him for his offer--you meant it, didn't you? she asks. Yes, he says,. I'm sincerely grateful, she tells him. You mean that, too, don't you? he asks. Yes, she says.s grasp--"It's not possible." "Why?" he demands, still kissing her. You're hurting me! She screams--let me go![/spoiler]
And I loved the one of Liz yesterday.
Carolyn, calls Vicki, can I ask you a question. Anything at all! says Carolyn, ecstatic. You remember that sobbing I told you about? asks Vicki. You heard it again last night, says Carolyn. How did you know? asks Vicki. Because I heard it, too, says Carolyn--I hope you had the good sense to stay in your room--that's what I always do. But when I told you about it before, says Vicki, you told me you'd never heard it--that I must have dreamt it. From the kitchen doorway, Liz listens. I didn't want to frighten you away, admits Carolyn--but now that you're one of us--sure, that ghost lady sobs--I've heard it, off and on, for most of my life--but right now, I couldn't care less! Where does it come from? asks Vicki. Ghosts! says Carolyn, and like all the rest of us kooks here, you're just going to have to get used to it--I really must change. She leaves Vicki on the landing alone.[/spoiler]
Great shot of Vicki today.
The doctor was just here! says Catherine--what did he say? Bramwell doesn't answer. Tell me what the doctor said, she commands. "He was certain only of one thing," says Bramwell--"Daphne is dying."[/spoiler]
Catherine shakes her head--no, it can't be true! I'd give me life to make it a lie, he says, but it is true(http://www.dsboards.com/epimgs/1233-0.jpg)--when Mother told me the news, I went to see Dr. Fletcher myself--he doesn't know what's wrong with her. Doesn't know? says Catherine--he's a doctor, of course he knows (spoken like a doctor's daughter). He wasn't able to diagnose the illness, says Bramwell, he could only tell that she is dying--all the vital life signs are weakening, she hasn't the will to fight--unless the situation changes soon, she will not have very much time. It can't be true, insists Catherine--she's so young, she's never been sick before in her life. I know, says Bramwell--if this happens to her, then I will be responsible. Why? asks Catherine. I married her, then completely neglected her, he says--I've given her nothing to live for, and now she's dying. You mustn't blame yourself, says Catherine. But I do, he says--last night I came home with such good news--my ship had arrived--I now have as much wealth as I'd ever want, now it means nothing to me--I would gladly give it all up if I thought it would make her well again. Catherine rises from the sofa--if anyone is to blame, I am, she says--the way I've treated her since she married you--she must think I hate her by now. The fact is, says Bramwell, you are right, Daphne should have listened to you--I married Daphne because I was hurt and angry at you--but now, I feel very deeply toward her--do you believe that? Yes of course I do, says Catherine, I believe it--what I don't believe is that she is going to die--we must find another doctor, we must find someone to help her. Dr. Fletcher suggested we get someone in for consultation, says Bramwell, but he didn't hold out much hope--we mustn't fool ourselves. Does she know? asks Catherine. No, she has no idea, he says. Poor Daphne, laments Catherine, shaking her head, my poor sister--she hasn't even lived!--and now she's... She begins to cry. Bramwell starts to reach out to touch her, comfort her, then withdraws his hands without making contact and walks away.
Quentin enters the cobweb-filled room in Rose Cottage--Daphne! he calls. He lights a candle--I know you're here--don't hide from me--I'm not going to leave this house until you come to me! She enters the room and flings off his hand. Why did you disappear? he asks--and why did you come here? There's nothing for me at Collinwood, she says. I let you go to the children, he reminds her--what happened there?--what were you trying to make them do?--Willie told me about the pentagram and candles--what were you getting them to do?--does it have anything to do with why they are now sick? Daphne whirls around upon hearing this, staring at him. They are sick, you know, he tells her, She shakes her head in disbelief. You promised me you wouldn't hurt them, she says. I didn't! she cries. Then who did? he asks. Don't ask me that, she says, turning from him again. He faces her and demands the name--say the name! Go back to Collinwood, she says--you'll only make things worse. How? he asks--by being with you, by asking questions? Please, she begs. No, he says--I will not leave until you tell me what is going on--why you've come here, what are you going to do? She looks sad. I'm very foolish, he says--also vain--I thought the reason you came here was for me--I see that isn't true, isn't it? If they are sick, she says, you must leave, let me think. Think about what--about whom? he asks--say the name. Gerard, she says. Do you love him? he asks--is that what all this is about?--I don't believe it--not when I see the love in your eyes for me. You see no love, she insists. Why are you denying it? he asks. I can't explain anything, I told you that, she says. Why?--are you so terrified of Gerard? he asks. Every moment you stay here, the worse it is for the children, she says--believe me, go! All right, he says, if I believe you, if I leave, eventually, will I find out what's going on around here? She nods--if you leave me now, I must think and decide what I am to do. He takes her hands--I promise to help you fight Gerard, he says. Don't say that, she says, pulling her hands away, don't say that here! Why, is he here? asks Quentin--do you feel his presence in this room? Just go before you make things worse, she pleads. He backs away and leaves without another word. Daphne calls to Gerard--I sent him away, she says, I'm trying to do what you want me to do--please don't punish the children for what I've done! Oh, Gerard, don't kill them--I'll do anything if you'll just let them live![/spoiler]
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!"[/spoiler]
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.(http://www.dsboards.com/epimgs/0976-3.jpg)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.
The kids have slipped into the clothing that was in the trunk. Amy tells David he looks grown-up, and he asks, "Like Quentin?" Yes, she says. He asks her to call him Quentin, and she says to call her Beth. They can pretend this is their room. It is, says David, don't you remember --Beth? Yes, Quentin, she responds. We must keep it a secret, warns David, if we tell, and the adults came up there, they wouldn't let them play our games--we'll block the entrance to the room so no one will find it. Amy suggests they go downstairs, it's getting late and they must rise early. David agrees--they have much to do. Amy agrees. He asks what's wrong. I wonder if we will do what HE wants.[/spoiler](http://www.dsboards.com/epimgs/0646-2.jpg)We must, says David--my family has made Quentin and Beth very unhappy and must be made to realize that--must pay for what they've done to them! I understand, says Amy. David touches her shoulder and asks if she's thinking of letting him do this all alone. Of course not, she assures him.
Outside the Old House - Natalie ponders--she knows Jeremiah and Josette don't love each other, why did they say it? Someone is trying to draw Josette away from Barnabas, but why? And who? She must find out before it's too late.[/spoiler]
Drawing room - I think the time has come for me to tell you exactly where you stand, says Carolyn. I think my dear nice is about to deliver a speech, says Roger, frowning. A brief one, and to the point, she says--the reason Dr. Guthrie will stay on here, despite your rumblings. Crossing his arms over his chest, Roger tells her he should be very glad to hear it. My mother is in a hospital bed in Boston, begins Carolyn, right now, she's the most important thing in the world to me--she's placed a very heavy burden on me--she's left the entire responsibility of the entire Collins family to me--not to you. And now you are drunk with power? he asks. No, this is what she planned in case anything happened to her, says Carolyn, and I intend to see it through. How do you intend to force whatever little policies you devise? he asks. (nasty!) Mother left a specific document with the attorneys, says Carolyn, that will advise and support me whenever necessary--please, Uncle Roger, don't make it necessary. I see, he says--and exactly where does that leave me? Life won't change for you, she assures him, you'll continue to be what you've always been--I don't want to fight with you, but you must respect my wishes when it comes to the running of this house!--she sighs--her instructions about the business were quite clear, too--hesitantly, she adds--with everyone's help, I'm to be in charge until she gets back--now if you'll excuse me--and she takes down her coat and slips it on. Roger follows her. Your mother must have been out of her mind, he says angrily, leaving a half-grown girl with such enormous responsibilities. She had to entrust them to somebody, points out Carolyn. Why not entrust them to me? asks Roger, I'm a member of this family. A very extravagant one, says Carolyn. (get him!) How extravagant can you get in Collinsport? he asks. Somehow, you manage, says Carolyn. I'll have to talk to the attorneys about this, insists Roger--I can understand your running the house, but being involved in the business is just too absurd!--that's my department. My mother ran both--and I'm going to run both, Carolyn informs him. You are getting more and more like her every day, he says (before he said she was getting more like HIM). Thanks, murmurs Carolyn--I think you ought to support Dr. Guthrie in whatever he's doing. You may be in temporary control of this estate, says Roger, but you're not in control of my mind. Please! begs Carolyn, it might help Mother. How can he help your mother when she's not here? demands Roger. Please don't question it, asks Carolyn--my mother's life may depend on it. She turns and leaves Roger standing there, fuming. He sighs, steepling his fingers.[/spoiler]
Great photo today. It's interesting to see how Carolyn and Roger's relationship has evolved since the early 1966 episodes. And always a treat to what Nancy and Big Lou together in a scene. Sparks flew!
On the terrace, by the fountain, Lamar complains, Roxanne, you don't think too highly of my profession, do you? Did I offend you? she asks, I'm so sorry--(sarcastically) just that the thought of making one's living from the death doesn't fascinate me. Death is a fact of life, my dear, he says, and it must be dealt with tastefully, and with reverence--the Trask Chapel is an institution in Collinsport. Would you mind if we don't discuss the Trask Chapel this evening? she requests. But it is my livelihood, he reminds her, and it must not be treated frivolously--but, he smiles, we are not here to discuss my profession--the fact is, there is very little time left before your father returns--I think I'm entitled to an answer from you. You mean you think you're entitled to the answer you and father have already decided upon, she says bitchily--well, you're not, Lamar, my answer is still no--you're not the man for me! Insulted, he asks, might I assume there is someone else? You may assume NOTHING! she says--but someday, I will meet a man--a stranger, his goodness and gentleness will overwhelm me--and I'll be amazed by an air of mystery that surrounds him--and he will be courtly and charming--and he will love me as I want to be loved--I've always dreamed of such a man, and I know that we're destined to meet. At the gate, Barnabas watches and listens as Roxanne goes on about her perfect man. He smiles..[/spoiler]
Gladstone says, I checked the compound and found a minor impurity, but I can't believe it could cause anything as extreme as amnesia--I know so little of your work, perhaps you could tell me MORE (and he sounds suddenly fanatic). You DID find an impurity! Says Cyrus--even something infinitesimal could be enough!--the chemical balance is extremely delicate. If only I could know how you're using this synthesis, says Gladstone, looking loony again.[/spoiler](http://www.dsboards.com/epimgs/0993-2.jpg)I don't discuss my work with anybody, insists Cyrus. On whom--or what--were you performing the experiment? asks Gladstone--how did you measure its effects? I can't discuss this with anybody, repeats Cyrus--please leave immediately. He opens the door and adds, take safeguards against impurity in the synthesis--you must--I indicated how important and delicate this chemical is! Yes, says Gladstone, beaten, you indicated that much--good night, I'll see you very soon; meanwhile, you have the best of my good wishes. Cyrus locks the door after him.
Nice to see Horace Gladstone appear in yesterday's slideshow, though the shot (presumably the best available for the line) wasn't a terribly clear portrait of him.
He hears the door squeak. The ghost of Beth appears. "No, you're dead!" he gasps, terrified. "Quentin!" calls Beth. "Where is Quentin? Quentin, I must find you!" Yes, calls Trask--find Quentin, tell him I'm here, tell him...to come to this room, you can make him come, please! Beth fades away. Trask presses against the solid brick wall, freaking out with fear.[/spoiler]
And I'd forgotten about Beth's spirit appearing to "dear Gregory" at a crucial moment in 1897...
Wonderful series, Midnite and MB!
Barn asks about this permanent cure. Do it now, tonight, begs Barnabas, but Eric says the experiment isn't ready. Stop tormenting me and at least tell me about it, pleads Barn--don't give me hope then take it away--I'm afraid, she'll do anything. Eric swears he'll do anything to save him, but he can't yet. He can't risk failure. What about money, help? asks Barnabas eagerly. No, no one else must know, insists Eric, but agrees he must tell Barnabas of the risks and decisions involved in this plan. Barnabas fears Angelique turning him back into a vampire.[/spoiler](http://www.dsboards.com/epimgs/0475-4.jpg)Eric says he's going to do something no one else has ever done before, an effort at which all other doctors have failed--if I do fail, warns Lang, you will be a hollow shell, unable to rise or walk. But if you succeed? asks Barnabas. You will still leave your body, explains Lang, but will live--the witch will think you've escaped your body by death, when in reality you will have escaped by living.
Jason pours himself a drink at Collinwood and once again surveys the drawing room with a proprietary air. He lies on the sofa, feet up. Roger comes in and glares at him. Jason asks Roger to join him in a nightcap. No, says Roger, I've come down for a book. Trouble sleeping, eh? Asks Jason. No, I simply enjoy reading at night, says Roger. Jason says he favors the taste of good brandy, a warm fire--ah, the comforts of home! So I see, says Roger sarcastically. Traveling on the seas really makes a man appreciate a house like Collinwood, says Jason. Doesn't Collinwood, in turn, make you miss your travel? Asks Roger. Not in the least, Jason assures him. Then you won't be resuming them shortly? Asks Roger. Can't say for sure, says Jason. Perhaps you will allow me to say you're resuming them soon, says Roger, I suggest you leave first thing in the morning! Jason says he doesn't expect it to be that soon. If you will pardon my bluntness, says Roger, I'm ASKING you to leave in the morning. All right, says Jason, I will. You'll leave? asks Roger. No, I'll pardon your bluntness, says Jason evenly. My sister might allow you to impose on her, says Roger, but I will not--I find your presence here a terrible imposition. Then maybe we should try to keep out of each other's way, suggests Jason. Furious, Roger tells him he has no intention of keeping out of anybody's way--now look here, McGuire. "MR. McGuire!" corrects Jason, no longer acting affable. You are a guest in this house, begins Roger. Treat me like one! Jason says. Perhaps if you acted like one, instead of acting like you own the place, says Roger. Jason springs from the sofa and tells Roger he doesn't own the place, Elizabeth does, and Roger is absolutely right, he's only a guest in this house, Elizabeth's guest, and he wonders how often he's going to have to remind Roger of that. How often do I have to remind you you're not welcome at Collinwood? demands Roger. Liz enters, asking what's going on. Your brother has just been reminding me I'm not welcome at Collinwood, tattles Jason. Is that true? Roger tells Liz he's been reminding him that, welcome or not, he's a guest in this house, and the least he could do is act accordingly. Perhaps I misinterpreted your invitation to feel at home? Jason asks Liz pointedly. Yes, you certainly have, says Roger. That's enough! commands Liz, her face twisted with anger. Jason apologizes, saying the last thing he wants to do it bring dissension to Collinwood. I doubt that! says Roger. Liz orders him to stop it. Roger says it's time to have it out--he's been telling her this in private and now he's telling her in front of Mr. McGuire. This isn't the time, says Liz. It's past time! insists Roger--he's taking a terrible advantage of you, and I want him to leave! Advantage? questions Jason, well of course I am, taking advantage of this woman's warm, extraordinary hospitality, why shouldn't I, when it's so freely offered. He's mocking you, barks Roger, can't you tell it in his voice? Mocking? Asks Jason, pouring himself another drink. Please, begs Liz of Jason, it's very late. No, says Jason, I think your brother's right, it's time we had this out. Roger comes over and orders Liz to tell him to leave tomorrow. Jason says yes, tell me to leave tomorrow, and I will, for that matter, tell me to leave tonight--you only need say the word. Say it, Liz, say it! says Roger. Stop it, she orders her brother, and Jason says yes, says it, Liz, I'm sure it won't reflect on our long, long friendship, and it certainly won't have any effect on the deep, deep understanding we've always shared. He gives her a significant look. The memories of other days, of your husband, Jason reminds her. Roger says she wants to forget completely about her husband, says Roger. Don't be so sure, says Jason, adding there are some memories he can't possibly LET her forget--so just say the word, the decision is yours, tell me to leave and I will-- immediately. "Liz, please!" begs Roger. Well, Liz, you must decide, says Jason, may I stay?[/spoiler]
If you will pardon my bluntness, says Roger, I'm ASKING you to leave in the morning. All right, says Jason, I will. You'll leave? asks Roger. No, I'll pardon your bluntness, says Jason evenly.Jason and Roger share some great scenes together, and as I've said before, the way Dennis Patrick and Louis Edmonds play them is priceless.
I'm going to ask you the same questions I asked Sam Evans, Burke tells Roger--and I hope you have the same answers. I had nothing to do with Evans, insists Roger. That won't do, says Burke, you and Evans were thick as thieves! I don't know what you're talking about, says Roger. You set me up on that manslaughter charge, accuses Burke, and you know it! I know nothing of the kind, says Roger. And if Bill Malloy hadn't conveniently disappeared he would have proved it, says Burke. You not only jump to conclusions, you leap over them! says Roger--number one, Malloy hasn't disappeared, he has simply not appeared. I don't care what words you use, says Burke--the fact is, he's not here, he's no where to be found. Maybe he doesn't want to be found, suggests Roger. Oh, you think he's hiding someplace, says Burke--why would he want to do that?--why would he set up this meeting between you, me and Sam Evans? I can't answer that, says Roger, but I do know he was drinking that day. I'm aware of that, says Burke--he must have had a terrible worry on his mind--to make him do a thing like that--he must have been faced with a tremendous decision--the same way Sam Evans was. I told you again and again I don't know anything about Sam Evans! shouts Roger. But Sam Evans knows something about you, says Burke. That's absurd, says Roger. And Bill Malloy knows what that something is! insists Burke. I won't be badgered and bullied, says Roger. Yes you will, says Burke, because Malloy made me a proposition[/spoiler](http://www.dsboards.com/epimgs/0054-3.jpg)--he wanted me to leave your sister and Carolyn alone, stop delving into the past. In return for what? asks Roger--what could he possibly offer you? He offered me you, says Burke--YOU on a silver platter!"
Did something happen to you up in that room, asks Catherine fearfully. I presume the Morgan you keep referring to is a Collins, he says. She gazes at him, stunned. Yes, of course, he would have to be, says Morgan--how unfortunate--but a man in my position can hardly be selective. Morgan, please! begs Catherine. He again demands she stop calling him Morgan. Terrified, Catherine opens the double doors and calls for Julia. He asks if Julia is the mistress of the present family. Present family? Asks Catherine. I see you're confused, he remarks--well, the less you know, the better off you'll be. Less I know about what? asks Catherine. Julia enters, asking what's wrong, Melanie right behind her.[/spoiler](http://www.dsboards.com/epimgs/1223-1.jpg)Something did happen to him up in that room, reports Catherine to the two women, but he won't tell me what it was. Morgan wanders the room, looking around. Morgan? asks Julia. Catherine tells Julia and Melanie that he keeps saying that isn't his name. Poor Morgan, says Melanie, suggesting that he now has the madness. Madness, did you say? he asks--if you're referring to me, you're wrong!--oh, yes, there is madness in this house, but not from me, and it has been going on for years--do you understand that? Yes, says Melanie, I'm sorry. Julia tells him to leave Melanie alone. He repeats the latter's name, remarking that it's pretty--too bad it has to belong to a Collins--you are a Collins, aren't you? You know I am, says Melanie. I know nothing of the sort, he says, and frankly, care even less--I want nothing to do with any of you--if you don't mind, I'd like to be left alone to do what I must do. And what might that be? queries Julia. I don't believe that's any of your business, he says. You're quite certain you're not Morgan Collins? asks Julia. Quite certain, he says, arms crossed over his chest. Then who are you? she asks, but he says he doesn't believe he has to tell her that. Are you aware you just spent the night in a locked room in the West Wing? She asks. Yes, he says, staring at a portrait of a Collins ancestor, my mind is functioning quite well, but I must admit one thing my body is tired. Do you know anything about the curse and the connection with that room? she asks. Nothing, he says. You're lying, she accuses. Very well, he says, I'm lying, if that will make you happy--now if you don't mind, I'm very tired and would like to rest."
Lovely to see a shot of Keith Prentice and Grayson on today's entry.
I know most fans do not like 1841 PT (to severely understate), but the last time I viewed it--which was far too many years ago--I found plenty to enjoy.
James' caustic exchanges with Julia are some of the parts that made me smile.
Rest home - Carolyn tells Eliot, I couldn't refuse your request to visit Sabrina, given the circumstances--you have no idea why she spoke my name? No, says Eliot, I was hoping I'd find out. He introduces Carolyn to Sabrina. Carolyn smiles at the other woman, greeting her cordially. Alone! demands Sabrina, I must speak to Carolyn alone. It's most important that I hear what you want to tell Carolyn, says Stokes. Sabrina is insistent--alone! ALONE! Carolyn says I don't mind, if it's OK with you. He agrees to leave the room and goes out into the hall. Sabrina smiles crookedly at Carolyn, who sits down. Sabrina asks, are you really Carolyn? Yes, answers the blond. Ned, my brother, told me about you, says Sabrina--and you are in danger! What kind of danger? asks Carolyn. "Even though he loves you," says Sabrina, leaning forward in her wheelchair, "he will try to kill you!" Who? demands Carolyn.[/spoiler](http://www.dsboards.com/epimgs/0889-3.jpg)Chris Jennings, says the other woman urgently.
If there is a spirit, says Stokes, tell us who you are and why you came here. Liz felt someone turning her head, eyes staring at her, a hand. . .Stokes asks if she wants to end the seance. No, says Liz, she's gone--it was definitely a woman's hand. She tells Stokes to go on. He starts again, asking whoever is in the room to tell them what it wants, they will help it find rest. Speak to usIt's Carolyn who goes into a trance. Chris is concerned, Stokes reassures him. Carolyn says, "I heard the widows wailing. You must. . .you must. . .stop him!" Who? asks Stokes. "He must not come back!" cries Carolyn. Stokes asks if it's Jeff. "No," intones Carolyn, but she can't seem to say who.
today's photo is from a scene in which Carolyn was possessed by Magda at a seance.
Which was Magda's pre-debut moment in the show--a preview of coming attractions. And fittingly perhaps, though I'm sure nobody was aware of the circular movement of events, the last time Magda's voice was heard on DS was while Julia was standing in the drawing room in 1969. One of my favorite scenes--a Grayson in stereo moment.
He's angry with himself, but she insists their matching brands are the result of Fate, and they should stop hiding what they feel for each other. She caresses him, and even though he shakes her and reminds her, roughly, that she loves Barnabas, they end up in a passionate clinch. She tries the rosewater on his hand, to no avail, and he tells her Naomi dreamed of this "brand for lovers." Their hands touch, they kiss again.[/spoiler](http://www.dsboards.com/epimgs/0377-4.jpg)He walks away, tells her that when he's alone in his room, he doesn't feel this fever for her; then returns to her side and kisses her face.
Right now I'm not so concerned about you and Burke, says Liz--I'm concerned about what you're doing to David. What am I doing to David? asks Laura. Encouraging him to lie, to meet with you secretly, says Liz. Did he tell you that? asks Laura. I won't have it, says Liz--I've tried to be patient with you, but my patience has come to an end--I'm asking you to leave. But you already have, says Laura. But you haven't done anything about it, says Liz. That's only because I haven't had enough time, says Laura--I need more time! You've had plenty of time, says Liz--I want you to please go! Tonight, in the middle of this storm? Demands Laura. Tomorrow at the latest, says Liz. Is that an ultimatum? Asks Laura. Call is what you wish, says Liz--I've had enough from you--you're not welcome here anymore. And if I refuse to leave? asks Laura. It won't do you any good--you'll never get David, says Liz. How will you stop me? asks Laura. I'll take you to court, says Liz. I must say, you're very good at making threats, aren't you? asks Laura. It's more than a threat, vows Liz--I'll take action--you'll never get David. Never? asks Laura. That's right, says Liz--I'm convinced more than ever that you're not good for him. I think you should know something, says Laura, that if I decide to take David, no power on earth will stop me! What do you mean? asks Liz. You'll find out, says Laura. Will I? asks Liz. Mmm-hmm, says Laura, and I think you'll be very sorry that you tried to interfere with my plans. We'll see, vows Liz--now I want you to leave--do you hear me? Oh yes, says Laura, I hear you.[/spoiler](http://www.dsboards.com/epimgs/0155-4.jpg)Good, says Liz, and leaves the cottage without a backward look. Laura goes to the fire. She throws another log on it, then sits down and stares into it..
All the lights go out, and there's the sound of a heartbeat. Quentin demands to know who is in the room and darts into the outer-room. "Who are you?" he cries. He dashes into the hallway and orders Dirk to get him an oil lamp. The heartbeat grows louder. Dirk enters with the lamp, asking why the lights are only out in this room. Quentin asks Dirk where the sound is coming from, but Dirk doesn't hear the heartbeat. You must hear it! insists Quentin--it sounds like a heartHave you been drinking? Dirk asks. Quentin, terrified, tells Dirk, get me a carriage--I must go into town. It's late, the stable boys are asleep, says Dirk. Wake them up! demands Quentin. I'm overseer of the grounds, Dirk reminds him, and that isn't my job--you should wake them yourself. The heartbeat is louder, but Dirk still doesn't hear it. Quentin grabs and shakes Dirk, accusing him of being in on this, of lying. They get into a scuffle; Dirk tosses Quentin aside and orders him never to call him a liar. He leaves Quentin alone in the room with the heartbeat. "Stop it!" begs Quentin.
... but Dirk doesn't hear the heartbeat. You must hear it! insists Quentin ...
... Quentin, terrified, tells Dirk, get me a carriage--I must go into town. ...
Drawing room, Collinwood - Nicholas is very pleased with the denouement to this evening, and feels he's now free to leave, and to let Cassandra make more errors. Jeff bursts in and warns Blair to keep away from Vicki. I don't know what you're talking about, insists Nicholas. You're missing a button, says Jeff-and Vicki was carrying it.[/spoiler](http://www.dsboards.com/epimgs/0527-1.jpg)Really? asks Nick coolly-I must thank her for it-I was out walking earlier, and it IS possible to lose a button, you know. Jeff gives Nicholas a warning glance-Vicki will regain her memory, he tells the warlock, and when she does, he, Peter, will do what's necessary. (Ballsy, isn't he?)
Lovely shot of Nicholas today.
He handled that moment very smoothly
... as was his wont.
The cemetery caretaker, a real hoot of a guy, finds the mausoleum gate open and goes to investigate. When he hears David's voice calling, "Help!" from behind what is supposedly only the back wall to the tomb, his eyes widen as he responds,[/spoiler](http://www.dsboards.com/epimgs/0313-2.jpg)"No, there is no help for you, you must rest!" to what he assumes are ghosts. He runs off, leaving poor, lonely David losing hope. He falls asleep again against the stone steps.)
Police station - He's just a kid, says Bill. I realize that, says Carter, what did he say? He must have just had a humdinger of a fight with his father, explains Bill, and I heard him say, "I hope he dies."--look, all kids go through that emotional... I'm not interested in all kids, says Carter--just one--did they have these fights often? What are you getting at? demands Bill. Do you think David's the kind of boy who would REALLY hate his father?--I don't mean kid stuff, I mean hate, the real thing. I don't think he likes him, says Bill. Before the accident, says Carter, did they have any particular arguments between them? I think you'd better tell me what you're after, suggests Bill. Carter again asks if there was an argument--could be important. Roger said something about sending him away, says Bill, to boarding school, I guess, and David was pretty upset about that. How upset was pretty upset? asks Carter. Jonas, says Bill, you're out of your mind! I sincerely hope so, says Carter. David's unpredictable, sure, says Malloy, a little wild, maybe, but he would never...I can't even say it. I haven't said it yet, says Carter, but I'm thinking it.[/spoiler]
We must find and get control of him, says Barn--come, he orders. He closes the secret door, and assures Beth, Dirk will not harm either you or me when you are with me. Beth starts to ask questions, but Carl enters the house, all excited. He's frazzled, flustered, unsure if it's a good evening or not. What a time I've had, he blathers--do this for me, Barnabas, it's the only way out, you can't imagine what a time I've had, sitting on that train, not sure of what I'd do or say, and then I thought of my cousin, and it made all the difference. Barnabas asks, what are you talking about? Carl searches through his valise for "a gift I got for you, fresh from Atlantic City, NJ--salt water taffy!" Carl goes on about how a taste of it is like feeling fresh air blowing from the sea. Barnabas thanks him. Beth reminds Barn, there's something we must do. Carl has other concerns, however--first, open the box, and then I will tell you what happened to me. That's got to wait, says Barn--Dirk has disappeared mysteriously. Then Judith will just have to find someone else, babbles Carl (ah the mind of a child)!--open the box. Barnabas does--it's empty! Oh, she must have ate it, says Carl, you know how women eat when they're nervous, I gave you the wrong one. He takes back the empty box and searches for another in his valise. Barnabas, anxious to search for Dirk, suggests Carl return to Collinwood. I'm too nervous, insists Carol--I must have your assurance that SHE can stay here. (Carl looks like Sherlock Homes in his cloak.) Carl decides there's no reason Beth can't know, she will anyway, everyone will--I thought this would never happen to me, I thought I'd go through life being one of the unmarried Collins brothers. "You've gotten married?" guesses Barnabas. Oh, no, says Carl, I wouldn't do anything like that behind my family's back, as if I'm ashamed--you don't know Carl Collins, or for that matter, Pansy Faye.[/spoiler]
Great shot of Carl today.
Such a good role for Johnny Karlen, and showed how versatile and nuanced an actor he was.
Well, when he wasn't hysterically swinging on rubber tombstones, LOL.
MB, for some reason I thought you'd started watching DS right from episode 1 in 1966.
Joe and Maggie sit together on the sofa. She asks him how he feels. He's OK, he says, and she offers coffee. She leaves to make it and that's when Ang summons Joe. Come to me, she wheedles. He begs her to leave him alone, but she says he can't resist her call. Maggie hears Joe calling, "NO!", but Ang tells him he can only hear her voice. It's started, says Joe, and he asks Maggie to hold onto him. All you can hear is my voice, Joe, says Angelique, all you can see if my face--come to me now! He begs Maggie not to let go of him and she promises she won't. Ang demands he come to her--you want me! Joe vows to fight and pleads with Maggie to stay. Joe calls out "NO!" and feels confident it will work if he concentrates on Maggie and his love for her.[/spoiler]
Joe finds Vicki waiting alone at a table for Burke, and joins her.[/spoiler]
Kitty thinks to herself, I must hurry and get ready, he's on his way. She's put on the white gown she found. "What am I doing?" she asks herself, feeling the material--why did I change my dress, I know I mustn't! She begins to drift into Josette's portrait, her body growing ethereal, ghostly. She's startled at what's happening. Barnabas enters the room just in time to see his fiancee meld into the portrait Kitty! he cries, reaching for her hand, and she reaches out for his....[/spoiler]
Roger Collins approaches from behind. "Not planning to jump, are you?? he asks, smiling[/spoiler](http://www.dsboards.com/epimgs/0002-5.jpg)--"You wouldn't be the first, you know. She identifies him as Roger Collins, and he admits it--he's brother of Elizabeth, father of David and terribly sorry if I startled you. She tells him she's getting used to surprises. We're quite a strange crew, he says, but I think you'll find most of us rather nice--it's quite different from New York, isn't it?--they both look out over the ocean--I hope you won't be too lonely here. If I am, she says, I'll blame it on you--Mrs. Stoddard said you're the one who arranged for me to come here. Roger looks at her. You don't say, he says. It's true, isn't it? she asks. If Elizabeth says so, he smirks, then it must be true--do you know that on a cloudless day, you can see 20 miles out to sea? Vicki looks where he's pointing. As a boy I used to bring a picnic lunch out here and dream for hours. Maybe I can do the same with your son, suggests Vicki. With David? asks Roger doubtfully. Doesn't he like picnics? asks Vicki. I'm not exactly certain what he does like, says Roger, but if you intend to follow that plan, stay away from the edge. Vicki chuckles--really, Mr. Collins, she says.
Would you--I know you're very busy, says Vicki, but would you please do us a favor--these books, they're the records of all the people buried in this cemetery. This cemetery and the one seven miles to the north, he says, the one they dug up when the town got too big to hold the living and the dead--the living, they stayed, the dead they gave to me--their names are here. Then you must have fairly complete burial records of this whole area, says Frank. They're all here, says the caretaker, the dead who were once the living.[/spoiler]
When Vicki tells her Woodard is in the study looking at Collins family books, Julia becomes concerned and hastens to the study. Woodard is there, poring excitedly over the many volumes. The original Barnabas had a sister named Sarah, he points out, and he, Dave, met Sarah himself at the mausoleum! Ridiculous, she says, looking very fearful at this turn of events, and she suggests he's tired and overwrought. Dr. Fisher thinks David is hallucinating. Woodard reminds her Sam saw Sarah, too, and Julia retorts Sam probably saw Sarah instead of pink elephants, being the drunkard he is. Well, he knows he saw Sarah and he intents to find out why she came back and get to the truth of this situation--he won't rest until he knows.[/spoiler](http://www.dsboards.com/epimgs/0336-4.jpg)Julia's lip curls with dismay.
There's a knock at the door, and since servants seem hard to come by (Curtis didn't want to pay extras at this point), Barnabas opens the door. It's Angelique, the duPres' gorgeous blonde, blue-eyed servant, bringing word that the Countess' carriage is stuck in the mud. She seems REALLY happy to see Barnabas and even though he says, "You must be wet" (I ain't touching that one with a ten-foot pole, folks!) insists on accompanying him back to the carriage, gazing at him with proprietary interest.[/spoiler]
Liz dreams. Angelique is laughing, the wind blowing her hair and dress. Angelique tells Liz she needs something to think about--death!--death, your own death--that will occupy you, and when you have thought about it as long as you can, you will think you ARE dead, as will others. You will be lying in a coffin and everyone will think that you are dead! Angelique's laughter goes on and on. We see candles, smoke, a beautiful coffin topped with flowers. Carolyn and Roger, dressed in funereal colors, stand by the coffin. Roger wants to know why the coffin was open, he ordered it closed. Carolyn remarks that Liz, lying in the coffin, looks beautiful. Liz speaks to herself--she isn't dead! She must open her eyes, try to open your eyes, try to move. You must show them you aren't dead-you must. Roger tells Carolyn he's closing the coffin. No, says Liz silently. Liz can neither speak nor move--they're going to bury her alive. Carolyn asks if Roger must close the coffin now, and he says yes. He closes it over Liz. Carolyn sobs, and Liz silently begs them--I'm not dead, I'm not, don't bury me! Roger leads the crying Carolyn away.[/spoiler](http://www.dsboards.com/epimgs/0576-4.jpg)Cruelly, Angelique laughs. Liz tells herself she must scream, she isn't dead.
Amy keeps calling for her brother, asking him not to go away again. Maggie assures her he's coming over soon to see her. Amy comes to fully, and is surprised to hear she fainted. Maggie wants her to spend the rest of the day in bed, but Amy protests this decision. I won't let anything happen to you, Maggie vows--you were dreaming, she adds, about Chris and that he was saying goodbye to you. Maggie tells her that Carolyn went to call Chris. She should be back by now, says David--she had plenty of time to make the call. Perhaps he's already left, speculates Amy. Maggie goes downstairs to see what happened to Carolyn.[/spoiler]
Magda looks unhappy--you would marry him, knowing his son, if he has one, will suffer the same fate as Quentin. "You're mad!" says Beth, horrified. That's the curse, says Magda. "Then" says Beth, "you have cursed your own kin." But Jenny had no children, says Magda. "Remember the dolls, Magda?--dolls I gave her because her own children were taken from her." You're lying! Magda accuses. I'll take you to them, offers Beth--twins, a boy and a girl, who live 20 minutes away--shall we go now? I wouldn't believe it if I saw them, says Magda. You'd have to, says Beth--the little girl looks exactly like Jenny. How could anyone not know of this? asks Magda. Edward and Judith are the reason, explains Beth--I will tell you everything, but you must not tell Quentin. Magda agrees--I must know! Jenny was aware of Laura trying to steal Quentin from her, begins Beth--when Edward found out, he forced Quentin to leave--Laura left right after--Jenny was never herself from then on--Edward decided to pay her money and get rid of her--she told him something no one else knew--she was pregnant. Why didn't she come to me? laments Magda. We'll never know, says Beth--Jenny was quite mad by then, and when the children were born, Edward refused to see them, wanting no reminder of his own brother, none--it was as if his own life was based on the idea Quentin had never existed.[/spoiler](http://www.dsboards.com/epimgs/0763-3.jpg)"So, there is a son?" cries Magda. "God forgive me, Jenny, forgive me! Can you hear me, my sister, forgive me?" Grief-stricken, Magda asks to be left alone. Help them now! begs Beth. Magda tells her, go to town and get a pentagram, put it around the little boy--he must wear it always, all the days of his life. "You can't end it!" realizes Beth. "Oh, a child," sobs Magda, her face collapsing with misery. "A child! I did not know. . ." She asks Beth to leave her alone, sobbing.
Wonderful photo of Magda today!
Barnabas rises for the evening and begins to light the candles in the drawing room. Sky Rumson stands in the shadows. Mr. Collins, he says, I didn't mean to frighten you--do you know how much I hate you? Is that what you came here to tell me? asks Barnabas. I hate you for so many reasons, says Sky. Beginning with Angelique, says Barnabas. Where is she? demands Sky. I honestly don't know, says Barnabas. She told you to tell me that, guesses Sky. "Angelique asks me nothing and tells me nothing," says Barnabas, "we are not friends." "You're much closer than friends, you're enemies," says Sky, "and I know that neither of you can resist torturing each other--she's known you for a long time, she'll remember you long after she's forgotten me, I know that!--you've got to get me to her, because she's the only one who can help me." She would no more help you than she'd help me, Barnabas points out. She must, insists Sky--you must convince her, because you are responsible for what is happening to me. Nothing is happening to you, says Barn, Jeb destroyed the box, all of you are released. Not me, says Sky, I made my deal with a Mr. Strack, but that's not what I blame you for--what I blame you for is this--and he yanks away the scarf covering his throat and shows Barnabas' Megan's handiwork. Megan! cries Barnabas. Yes, says Sky.[/spoiler](http://www.dsboards.com/epimgs/0969-2.jpg)Barnabas, ashamed, looks away.
Blood dripping from his throat, Will, realizing what has happened, tries to escape the secret room behind the bookcase.[/spoiler](http://www.dsboards.com/epimgs/1012-1.jpg)"You're leaving, Mr. Loomis?" inquires Barnabas ironically. The author gazes at him with terror. I've got to get out of here, insists Will. I'll let you go, says Barnabas, but first we must have a brief talk. Why did you do this to me? asks Will. Why did you do what you did to me? counters Barnabas angrily--hold me in a coffin, forced me to tell my story, make me reveal, night after night, the depth of my shame? Literally spitting with fear, Will says, I wanted to tell the truth about Barnabas Collins. The Barnabas of your time is lying peacefully in his grave, says Barnabas--his name and spirit and should be left in peace. Please let me go, begs Will, and I won't tell anything about you. Go if you want to go, suggests Barnabas. Gasping for breath, Will says, I can't, and you know it--what are you going to do with me? Surely you've learned enough from your conversations with me recently to realize the position you're in, says Barn. "I must do your bidding?" asks Will. Precisely, responds Barnabas. I won't be your slave, insists Will. Would you rather be held captive in a closed coffin? demands Barnabas--it can easily be arranged. You wouldn't, moans Will. Why not? asks Barnabas--you did the same thing to me! Please, implores Will, I'll do anything you say, anything you want, I will. Very well, relents Barnabas--gather all you have written--and burn them.
That was a great scene between Barnabas and Will. Payback! Great dialogue.
They did lots of those super-tight close-ups during the last year or so. Most of the time it was just the actor's eyes. I think it works well in traditional television.
Tad and Carrie burst in. It's all happening the way it did before, says Tad. That means we're lost! wails Carrie. First Gerard killed Quentin, says Tad, and soon after that, Carrie and I died. Gerard has forced history to repeat itself! realizes Barnabas--children, if you know where Quentin was originally buried alive, you must tell me--do you know if Quentin was buried in 1840 and where? If Quentin dies, says Tad, we'll die, too, this is our only chance. Then we might as well tell them, says Carrie. He was buried in an unmarked grave, reveals Tad, near the part of the cemetery that was fenced off.[/spoiler]
He points out that she has everything she could ever want in this house. Except love and happiness, she says. He asks how many people she knows have that? This is my chance to get it, she says, I must take it! Have you forgotten, he says, that four years ago, I also had the chance for happiness, and you denied me that opportunity. I haven't lost sight of what happened four years ago, she says, even though I didn't give you freedom to go with another woman, I was grateful for your honesty--I told you that then!--I don't think I understood what you were going through then, but I do now, believe me I do. Do you love Gerard? he asks her. Very much, she says. Does he love you? asks Quentin. Yes, she replies, please try to understand, don't hate me. I don't hate you, he assures her with a small smile, I know I haven't made your life very happy--but I thought that somehow, you'd want to go on, as I do--for Tad's sake. She rises from the bed and insists she must be with the man she loves.[/spoiler]
Lovely to see Samantha today (with the back of Quentin's head turned at a really odd angle).
Virginia Vestoff was superb--one of the most talented artists ever to work on the show. She was so believable at portraying Samantha's complicated depths and general unlikeableness that I don't think Vestoff has ever been very popular among fans. But whenever I get around to watching 1840 again, it is to her performances that I will look forward among the more memorable, and successful, elements of this troubled storyline.
Morgan mumbles, "Bramwell" and tries to rise from his bed. Julia tries to stop him, ordering, stay in bed. Morgan climbs out of bed, insisting, I must get to him. Julia stands there, scared.[/spoiler]
Love today's snapshot of Julia and Morgan having another dramatic encounter!
It was an envelope about this big, with Maggie's name on it, says Sam. I remember it, says Wells, she asked me to put it in here a couple of days ago. Here she is, says Wells, but when Sam reaches for it, the clerk says not so fast--he has to call Maggie first--is she home?[/spoiler](http://www.dsboards.com/epimgs/0061-1.jpg)What do you mean? asks Sam. House rules, says Wells, nobody can get anything out of that safe 'cept the person that put it in there. That's my letter, I wrote it, says Sam. Maybe you did, but you wrote it to Maggie, and that makes it hers, insists Wells--ask the mailman if you don't believe me. The devil with the mailman! says Sam, I want that letter. And you can have it, as soon as I talk to Maggie, says the clerk--is she home? Sam's brow furrows. No, he says, and I don't know where she is. I'm afraid you'll just have to wait, says Wells. Please, begs Sam, it's important! It must be, agrees Wells, kneeling to return the letter to the safe--she told me very clearly not to give this to anyone. I need that letter! cries Sam. And I need this job, counters Wells, I'd lost it if I broke the house rules--sorry. Sam stands there, licking his lips, really upset.
Interesting that the DS Wiki says Wells was known as one of the most notorious gossips in Collinsport. I don't recall that side of the character. Sounds like something Roger would have insinuated while reaching for the brandy decanter.
What do you think of this Dr. Guthrie? she asks angrily. Not very much, he says, What do you think he is--why do you suppose he's here? she asks. He's some sort of psychologist who's trying to find the cause of Liz' illness, says Roger. And does that make any sense to you? she asks. Frankly, no, says Roger, but it's what Carolyn wants and I can't question it--Liz is her mother. He's not just a psychologist, she says, he's a parapsychologist. One of those ghost chasers? asks Roger. Must you reduce everything to its lowest commons denominator? she asks sourly--an investigator of psychic phenomena. Why didn't Carolyn tells me this? demands Roger, angry now. Because she doesn't trust you, says Laura. Who else knows about this? asks Roger. I don't know, says Laura--Vicki, Frank Garner, everyone, I suppose. Except me, says Roger, isn't that just fine!--why is he here? If you want to know the answer to that, you'd better ask Carolyn, she says. Of course, says Roger, it all fits in now--a seance--whoever heard of a real psychologist trying to commune with the spirit world?--but why?--what's he up to? I have no idea, says Laura. It's all so confusing, says Roger--he turns to Laura--but then, everything that's happened since your return is confusing. You're not going to start that business up again, are you? she asks. What business? he asks. Everyone's favorite game around here--guilt by innuendo, she says--this is New England and obviously witch hunting is still your favorite sport. Why did Vicki scream out during the seance? asks Roger. Ask Vicki, not me! says Laura. And that body in Phoenix, continues Roger, why did it disappear? She rises to her feet. Surely it is apparent by now I am here, not there, she says, so how would I know? She lights a cigarette. And Liz, says Roger, you were the last person to see her. I didn't hit her over the head, says Laura--I wanted to often enough, but I never did it. (LOL, delicious!) Why didn't you mention it immediately? he asks. It was a very confusing day, she says, there was no reason for me to assume I was the last person to see her. Are you telling me everything? he asks--there's nothing you're hiding?--you'd better tell me because I'll find out anyway[/spoiler](http://www.dsboards.com/epimgs/0178-0.jpg)--whatever it is, you'd better tell me, Laura. She turns to face him. There is nothing, she says, nothing! She walks away from him and sits by the fire, cigarette in hand. (their head to head here was marvelous--guilt by innuendo indeed!--and she is the closest thing to a witch we have until Angelique makes her entrance)
Wonderful glimpses of 1967 Laura yesterday
And Liz, says Roger, you were the last person to see her. I didn't hit her over the head, says Laura--I wanted to often enough, but I never did it. (LOL, delicious!)
He assured her that, for Carolyn's sake (the bastard), he would bury the body in a trunk in the basement, and she would have to stand guard from then on to make sure no one found out (explaining her 18 year self-imprisonment; as the keeper of the key to the crime, she had to stick around and protect it).[/spoiler]
Wonderful glimpses of ... and 1949 Liz today!
Millicent badgers Nathan about why he's in jail. You haven't been listening, he says--you haven't heard one word I've said. She assures him she has, but it makes no sense. Take my word and trust me, please, begs Nathan. I did that before, she says, and I'm sorry. Forget the past, he says, we'll make a new start. I'd like that, she says. Something must first be done about Barnabas, insists Nathan. That's the part I don't understand, says Millicent--I was so sure Barnabas was dead. Impatiently, he reminds her--you saw him taking me out of the house tonight, didn't you? Yes, she agrees. Then he can't be dead, right?, asks Nathan. No, he can't, says Millicent, but why did we all think he was? Nathan paces the cell and says "because of what he's become." I'm confused, Millicent says. I can't say why, Nathan explains, but Barnabas is trying to kill me, and you must help me--I will tell you how Barnabas can be destroyed, but you must promise to do something about it. (Isn't she one of Barnabas' victims herself by this time?--Naomi committed suicide because she caught her son feasting on his cousin's throat.) I promise to try, says Millicent. Find a wooden stake and hammer, orders Nathan, and go to the tower room during the day, where he sleeps in a coffin--you must take that stake and drive it through his heart. Millicent stares at him, horrified. She says she thinks she understands and again promises to try. Barnabas must be destroyed before it's too late, says Nathan. She complains about the chill and says she'll return to Collinwood, but come to see him tomorrow. He stares after her, shaking his head, knowing his wife is whacked out..[/spoiler]
because January 13th was when the local ABC affiliates finally returned DS to 4pm.
In the woods, Barnabas meets Cassangelique. In an icy voice, he asks why and how she came back.[/spoiler](http://www.dsboards.com/epimgs/0530-3.jpg)This is my home, of course, she says, feigning ignorance. Angelique, he says, I had hoped you had decided to leave me alone. She replies that, as always, she doesn't know what he is talking about-and he's insane! Barnabas goes on to tell her that he doesn't care what she does to him, but Vicki has never harmed you--she should be left alone. Cassangelique suggests that they should avoid each other since he can't seem to get along with her. He tells her that would be a good idea, then exits. After he leaves, Cassangelique tells herself that a spark of her old feelings for Barnabas may be stirring, but she must fight them and concentrate on vengeance.
Rachel's eyes in closeup. She's in her room, sitting on her bed. Jamison, holding a locomotive in his arms, comes in and asks if she's seen his other trains. She sits him down, bad news evident in her face. Jamison first asks if it's Nora, then his father, then Quentin--something's happened to Quentin--he's been hurt. Much worse, says Rachel. Jamison stands. "He's dead." I know how close you were, says Rachel, but you must be brave--help Nora, stay together. He walks away from her. She asks where he's going, but he doesn't respond.[/spoiler]
Best checks his watch and tells Amanda, I'm truly sorry--but you've asked me to break the rules too often, I'm afraid--come. Not yet, she pleads, not yet. It won't be unpleasant, he assures her. I'll never see him again, she wails. Perhaps you will, he comforts her. She looks at him--you're only saying that so I will come with him, she accuses. Don't try to understand everything I say, he says, my mind is much more complex than yours, or anyone's--I pride myself on that. Just one moment with him, please, she cries, one moment.[/spoiler]
Barnabas leads Hamilton down into the basement, but Roxanne is gone. Barnabas looks around for her, to no avail. Well, says Hamilton, where is this strange young woman you were telling me about? He must have taken her away from here, laments Barnabas. If she ever existed, sniffs Hamilton. But she DID exist, insists Barn, why should I lie to you about this?--look around you--why do you think this equipment is here?--Julia got it so she could revive that girl. I'm a simple police inspector, says Hamilton, and must of necessity deal with things that are real--things that are unreal, I leave to the writers of fiction--as far as I'm concerned, the reality of this case is the increasing guilt of Quentin Collins. He leaves the basement; Barnabas follows.[/spoiler]
Lovely to see Colin Hamilton featured today. It was like DS suddenly becoming an Agatha Christie play when Inspector Hamilton showed up.
I wish he'd been brought back in another role.
You can't do this to Roxanne, insists Barnabas--she has done nothing to you. I said she would die from YOUR attack! says Valerie, not from anything I will do. Angelique, please! he begs. Valerie, Barnabas, she corrects--you must remember to call me Valerie--I don't want the embarrassment of being seen by the rest of the family. She closes the double doors--what is your decision? Listen to reason, pleads Barnabas. I want what I know I want, she says. Let me at least see her and talk to her, says Barn. I've known you a long time, she reminds him, you double crossed me more than once, betrayed me. I guarantee that I will not betray you this time, he says. Perhaps not, she agrees, picking up and looking at a feather pen, at any rate, to avoid unpleasantness, I think you should write your dear Roxanne a letter--don't go and see her--she throws the pen on the desk.[/spoiler]
When Willie brings Maggie upstairs, Barnabas orders Willie to leave them alone. She's thrilled to be out of the cell and begs the vampire to let her stay. He's annoyed--Josette was above petty begging, and she must be like Josette in every detail, and sincere. They admire the fresh flowers. She wants to see even a blade of grass so much, to be free and accept her destiny! At Barnabas' request, she opens the music box, and although you sense she despises that tune, listens to it as if it's angels themselves singing to her. Listen to it, he says, be happy, be mine, look in my eyes, be my bride. . .[/spoiler](http://www.dsboards.com/epimgs/0255-2.jpg)Maggie seems eager to be what he wants, but once he kisses her hand, she draws it away from his icy lips. This angers him. When will she forsake that common creature, Maggie Evans? Hearing her true self thus insulted, Maggie slams the music box closed and says, through gritted teeth, "NEVER!" She's Maggie Evans, that's all there is to it, so he might as well just kill her. Barnabas is just about to give her what she wants when Willie bursts in
I think I missed the shot of Barnabas and Maggie from the creepy 1967 Maggette storyline.
Whenever I see shots from that one, I find myself wondering just who did Maggie's hair up like that. One of those mysteries to which we'll never know the answer... perhaps Barnabas bribed the unknown stylist who came to Collnwood each week to work on Mrs. Stoddard's hair to come to the Old House and do a "classic French lady of quality" job on Maggie's do. It would make a good fanfic tale.
Stokes puts out candles as Julia and Barnabas watch. A table and three chairs has been set up. Stokes holds Julia's chair while she sits down. They touch fingertips and Stokes tells them to concentrate. He calls to Philippe Cordier, asking for a sign, calling to him to "Make your presence known!" We need your help as you need ours. The candle on the table blows out. Barnabas goes into a trance, which concerns Julia. Stokes tells her to leave him alone. Barnabas begins to speak in French; Stokes asks for English. I am Philippe Cordier, says the ghost, speaking through Barnabas. Stokes asks about Danielle Roget. "Danielle, mon amour," moans the spirit. Stokes asks if he was in love with her and he says, in French--accented English, "I AM in love with her, she is mine and has been taken away." Another man has taken her, I don't know his name, but he stole her spirit away. I am very lonely without her, and have come back to find her. Stokes asks if her spirit was in this room tonight, and Philippe says oui, but it's not here now. Where has it gone? asks Stokes. To another house, a house by the sea, replies Cordier. "Nicholas Blair's house!" bursts out Julia. "Danielle, I am coming for you, we will be together again," cries Philippe. Stokes begs him to reveal who lives in that house. "Wait for me, I will come for you. And when I find you, I will do what I have to do. Danielle, I will revenge your honor--I will kill the man who says he loves you."[/spoiler](http://www.dsboards.com/epimgs/0600-3.jpg)"Adam!" cries Julia. "He will die this night for what he has done for us--attendez! Attendez, mon amour, je viens, je viens! Danielle, c'est moi, Philippe. Je viens, mon amour!" Barnabas collapses on the table. Stokes says the spirit is gone, there is no chance to learn more--Julia should have kept silent, they were making remarkable progress. Julia is only interested in helping Barnabas sit up, making sure he's all right, checking his pulse. Julia heard all she needed to, she says, patting Barnabas awake.
Love today's shot. That might be my favorite of all the seances--Frid talks French, supported by Grayson and Thayer. I might have to get that episode out again over the holiday...
At the gazebo, Laura drops her snake bracelet on the ground when she goes to a pedestal with a weather vane contraption on it. She opens it and takes out her urn. When Nora calls to her, she hastily shoves it behind her back. Why didn't you come and say good night to me? asks the little girl. I was going to, Laura assures her--I came out here alone to look for something I hid here a long time ago. Is that what you have behind your back? asks Nora eagerly--"Can I see it?" Yes, says Laura, but it will mean nothing to you. She shows Nora the urn. The little girl is disappointed--oh, it's just an urn. Yes, agrees Laura. Why did you hide it? asks Nora. It's a secret, says Laura. I like secrets, says Nora. Go home to bed, says Laura--I'll come and tell you a wonderful story about the urn. Nora wants her mother to come back to the house with her.[/spoiler](http://www.dsboards.com/epimgs/0736-3.jpg)I want to stay here a while, says Laura--I can't explain why, but it's necessary and I will see you later. Nora promises to wait for her. After the child leaves, Laura lifts up the urn and calls to her master--hear me, bearer of warmth and fire, giver of life and destroyer, and grant through your flame the energy and sustenance I must have.
Wonderful photo of Laura today!
Hamilton arrives; Stokes invites him in--I've been expecting you. Hamilton apologizes for bothering him this time of night. I understand you're going to accuse me killing Claude North, says Stokes. I merely want to ask a few questions, says Hamilton. I think you'd do better protecting people against the insane accusations of a madman like Barnabas Collins, here, says Stokes, and drinks some more. Perhaps, says Hamilton, that's why I'm here--Mr. Collins, I have your story, now I want to speak to Mr. Stokes alone, if you don't mind. Of course, agrees Barnabas--if we can find the girl, she'll be able to give us the answers we need. And with a disdainful glance at Stokes, Barnabas departs through the hanging bead door. Are you aware, Mr. Stokes, of what Barnabas told me was your role in the incidents happening at Collinwood? Maniacal ravings, says Stokes, surely you don't take them seriously? Whether I do or not is beside the point, says Hamilton--I'm merely investigating a series of deaths. Did Barnabas tell you about the "life force" of the girl I kept in my storeroom back there? He mentioned it, says Hamilton. Stokes takes him into the room, which is now choked with furniture. Is this the room he told you about? queries Stokes, where I supposedly conducted all manner of mad experiments, transferring the life force of that girl into my daughter? I suppose this is the room, says Hamilton. I want to cooperate, says Stokes, but I must refuse to participate in such obvious idiocies. I have to admit, says Hamilton, your daughter died in a very strange manner. She had a heart condition, says Stokes, we were always afraid something like this might happen. If that's the case, says Hamilton, it will show up in the autopsy. AUTOPSY? repeats Stokes, now very upset.[/spoiler]
I wish we could have had at least one episode of Willie as the hairdresser.
They could have intercut footage of Mrs. Stoddard running the vacuum cleaner at Collnwood while in full evening dress drag.
Needless to say, I adore today's shot of Colin Hamilton with Thayer David! As you know, I'm quite a fan of Tim Stokes, mad scientist.
Drawing room - You must promise to come whenever you like, Liz tells Barnabas, you're not a stranger, you know, you're a member of the family. Vicki enters, sees the stranger and apologizes--she didn't know Liz was busy.[/spoiler]
Vicki is sitting at her vanity, holding Jeff's watch, begging for it to tick. Please, let me know you're here, she begs--give me a sign. Vicki vows to close her eyes--when I open them, the watch will tick and Jeff will be with me. It has to happen, she sobs, leaning against her arm and crying. She gazes at the watch and, overjoyed, sees it has begun to tick! You're here in this room, she croons--Jeff, Jeff, I know that you're here! I know you're very close to me now. Please, come to me![/spoiler]
Trask leads Judith to the tower room, Minerva following behind. Judith says, she must go, at once, I dismissed her--good ladies' maids are hard to find, she says, she must go, she talks nonsense. Can you hear her talking? asks Trask. She says, "Beware of berries in the early spring," says Judith. "They can be poisonous. In the winter, the snows are deep. Send her away at one or I will dismiss you," says Judith, looking at Minerva. "Please hear me--she frightens me."[/spoiler](http://www.dsboards.com/epimgs/0791-2.jpg)Evan dismisses the spirit of darkness, saying it must do as I say because I summoned you--disobey or I will smite you eternally--begone!
Love today's shot of Evan. So slinky and malefic.
I bet that was a Violet Welles script. She actually seems to have bothered to do occult research, unlike the other writers.
Joan looked fabulous in the scene where Minerva's spirit was driving her insane. If you're going to go bonkers, be sure to wear your finest drop earrings!
Carolyn softly asks to see Roger alone, and he gladly gives "kitten" an audience. She closes the doors and asks Roger if there's trouble with the business, something she should know about? No, says Roger. Carolyn explains that from he minute her mother woke up, she was in an absolute panic to get back here--she thought it must be because of Collinsport Enterprises, that there was trouble with the business and they were keeping it to themselves. All in your imagination, Roger says, the business is doing fine--the business is thriving, just look at the latest financial reports if he doesn't believe him. Why was Mother so anxious to get home then? wonders Carolyn. Worry over David, suggests Roger. No, it wasn't David, she says, it was something else, something she wouldn't discuss, but very important to her--what could it be. Roger says he's the wrong person to ask--Liz may be his sister, but there are lots of things about her he doesn't understand. Getting back here was the most important thing in the world to her, says Carolyn, before she went into the trance, she kept saying over and over that she couldn't leave the house, no matter what--she was willing to risk her life to stay here--and before that, she never left the house, not even once in 18 years. Why, Uncle Roger, why?![/spoiler]
Love today's snapshot of "Kitten" with Uncle Roger, too!
Lang wonders how long Barn has been in this condition--time is passing, he says, which is important to both of them--what have you been doing, experimenting on a cure for a legendary condition? Do you want him to die? asks Julia desperately. He can't die, says Lang. He'll die if he stays here, she says. Why? asks Lang. If she tells him all, will he let her move him? Asks Julia. No, responds Lang, and she picks up the phone, threatening to go over Lang's head. He reminds her of the rules and she puts down the phone--you have no choice but to tell me the truth, Lang says--don't kidnap him, or I'll call the cops. Julia agrees to tell, but says Barn can't be exposed to any light--an eye condition, she lies. Lang accuses her of lying. I'm only trying to protect my patient. "He's a vampire, isn't he?" asks Lang calmly. That's ridiculous, says Julia. Lang knows otherwise.[/spoiler]
Love today's portrait of Julia, struggling desperately to keep her cool and not just claw Dr. Lang's eyes out...
Jenny hums the pretty little horses songs to her twin dolls, shushing them, patting them. She cuddles them and tells them not to cry, to be brave. It's not allowed at funerals, she says, you must be very solemn and respectful of the dead. Dirk enters her cell. She tells him they're burying Quentin today and she's getting the babies ready for the funeral. Dirk closes the door and leans back against it.[/spoiler]
Great shot of Crazy Jenny today!
Liz asks Burke if he has any idea where Vicki might be. If I did, I would have gone there, says Burke--have you heard anything about Matthew? No, the sheriff hasn't a clue to where he is, says Liz. I'd expect that of the sheriff, says Burke. I can't believe Matthew's gone very far, says Liz, he's not the kind of man who adjusts well to new situations. He adapted very well to being a murderer, chuckles Roger, you can say that much for him. That's why I'm so worried about Vicki, says Liz. I don't know where else to search, says Burke, Joe and I covered the entire area, didn't we, Joe? Yeah, says Joe, rubbing his forehead, we must have criss-crossed each other's paths about a dozen times. Well, we've got to find her, says Burke--I don't know where else to search. The tide was in, says Joe, maybe in the morning we can cover the beach and lower part of the cliffs. You're on, says Burke--I'd like to change into something drier and warmer--would you drop me off at the hotel? Sure, says Joe, maybe I can get some of the fishermen to come along with us tomorrow.[/spoiler]
Joe comes in and Liz hands him a cup of black coffee, as he likes it. He thanks her. She offers sandwiches, too. Shouldn't you have served them the coffee in the kitchen? Roger sarcastically asks Liz. If I didn't dislike you so much, says Burke, I'd probably find you a very amusing person. I didn't intend to be amusing, says Roger. That's just the point, says Burke, drinking his coffee.Malcolm Marmorstein was definitely on a roll with this ep...)
How do you stand with Roger? asks Burke. I've asked him for a divorce and custody of David, she says. And if you get those things, what then? asks Burke. I'll make a new life for David and myself, says Laura. Let me talk about the practical realities for a moment--I came back to Collinsport to prove my innocence, he says--you're the key to that, Laura--how do you feel about that? I must solve my own problems first, she says, then and only then will I be able to deal with the other practical realities.[/spoiler](http://www.dsboards.com/epimgs/0133-3.jpg)But they will be dealt with, won't they? asks Burke. They will, she assures him, rising--it's been very nice seeing you--I trust we'll meet again. We will, I assure you, he says. They say goodbye and she leaves. Burke sits back down, smokes, and ponders this.
Fab photo of Laura tonight!
I love how much Laura you've been including of late.
Blue Whale - Burke is shocked to learn from Vicki that the punk they saw here the other night is staying at Collinwood, invited to stay by Liz. Vicki says she doesn't understand it, and both she and Carolyn are afraid of him. If he bothers either one of you, let me know, I'll handle it, promises Burke. Vicki tells him she believes Willie is dangerous. He knows punks like that, says Burke, a good beating is all he needs. You mustn't get into a fight with him, says Vicki, he hasn't really said anything. Then why are you afraid of him? asks Burke. The way he looks at me and Carolyn, he hasn't done anything much, Vicki begins to explain, then stops. Burke asks what's the matter. Willie has just entered the bar.[/spoiler]
The panel opens behind her and Barnabas enters.[/spoiler](http://www.dsboards.com/epimgs/0422-3.jpg)"They tried to keep us apart, she tells him--nothing can keep us apart, ever again. This night will fulfill all my longings." She asks him if he's come to take her away. Yes, he says. Then come-let us go and never return, she says. Never, agrees Barnabas. Show me the way and I will follow, she murmurs. It is a road with no return, warns Barnabas, a world of darkness. Lit only by our love, says Josette-we will share eternity together. Yes, eternity, agrees Barnabas. Are you certain? He asks, it's not too late-you can still be free of me-you can have life, find love, perhaps, in the world of light and the living. The time for questions is long past, she says-I don't want to be free of you-I'm yours-I must go with you, not to death and darkness, but to a world of unending joy-come take my hand and we will go together. They clasp hands and enter the corridor beyond the secret panel.
what is your first memory? Barnabas, says Adam--I saw him long ago. Two months ago, that's all, says Stokes. Adam asks where he was before that, and Stokes replies, "You tell me." Adam insists he doesn't know, and he wants Stokes to tell him--where was I before, tell me! Stokes, reluctant, finally burst out, "You did not exist!--that is the truth. I only hope you are mature enough to hear it." Adam doesn't understand this--I must have existed, where did I come from? Stokes tells Adam he knows as much as he needs to know, but when Adam demands more, Stokes finally relents. "There was a man who had a unique dream," he says, "he believed he could create a human being. He believed his creation would have the strength of a lion and the mind of a genius. Two months ago, his dream became reality--an incredible experiment was performed and it was successful. The result was that you began to breathe, to live.[/spoiler]
Amy refuses to believe Chris is all right and runs into the cottage, where Chris is slumped over in his chair. She begs Beth to tell her he'll be all right. This time, repeats Beth, this time, but tomorrow. . .tomorrow! What will happen then? demands Amy. He will try again, says Beth. Who? asks Amy. The murderer, replies Beth--he's coming, he's coming! The door opens. "Stop him!" Beth cries. Amy sees no one there, and tries to tell that to Beth, but she's disappeared. Hearing Quentin's music, she tells Beth it's only Quentin--come back, Beth! Amy asks Quentin to show himself--did you come to see Chris?--he's all right now, she assures him. Then Amy screams.[/spoiler](http://www.dsboards.com/epimgs/0678-1.jpg)Chris is dead in his chair, a knife protruding from his chest. David, his face swimming, tells Amy, I tried to stop Quentin, tried to tell him he's wrong--I didn't want this to happen, you've got to believe me. David begs Beth to tell Amy what he's saying, and Beth says he did try, but Quentin had made up his mind that Chris must die! Amy wakes up, screaming, staring wildly around.
Barnabas answers the door at Collinwood. It's Tate. I'm glad to see you, says Barn--we have something to talk about. Not now, says Tate. I still believe the portrait of Quentin is in your possession, says Barnabas. Charles tells him, again--I don't have it. I don't believe you, says Barnabas. Charity doesn't have a moment to spare, says Tate--she's being held hostage by Petofi. Barnabas is all set to go to her. No, says Tate, I have a message for Quentin that I must get to him--if Quentin isn't there within the hour, Charity Trask will die.[/spoiler](http://www.dsboards.com/epimgs/0883-1.jpg)Barnabas stares in horror.
The door opens--Paul walks in, asking for Carolyn. I haven't seen her all evening, says Philip. Paul, anxious, asks, will you be seeing her later this evening? David looks thoughtful. I don't know, says Philip. I must get her a message, insists Paul. Call Collinwood, suggests Philip. David greets "Mr. Prescott." Oh, you're David Collins, says Paul, we met the other day. Yes, agrees David, I must go home--would you like me to bring her your message? Mr. Prescott? Yes, says Paul, handing him an envelope, but you must promise not to give it to anyone but Carolyn. David promises. Tell her I'll be back in my hotel room within the hour, says Paul. OK, says David. Paul leaves after thanking Philip. Did you get the feeling he was frightened of something? David asks Philip. Yes, I did, answers the latter.[/spoiler]
Hoffman, startled to find Maggie in Angelique's room, asks, were you talking to someone? Only to myself, says Maggie icily. I came to apologize, says Hoffman--I'm sorry for what happened. Maggie accepts. I want to explain why I did what I did, says Hoffman--I've been very concerned about Daniel's state of mind, and felt it imperative that you and he become friends--I guess I just forgot that Mr. Collins loved her so much...everyone loved her...who cam blame them, look at her. Maggie looks at the portrait. She was the heart, soul and lifeblood of Collinwood, blathers Hoffman--she was that rarest among human beings, a legend in her own life.[/spoiler](http://www.dsboards.com/epimgs/0984-3.jpg)You're a rare person yourself, says Maggie coolly--you're the only person I've ever met who could turn an apology into a testimonial. (go, Maggie, go!!) If you'll excuse me, adds Maggie, I have an apology of my own to make--to my husband--I was foolish to get so upset, I should have had the presence of mind to tell Quentin who was responsible for my buying that recording--well, I've make my mistakes, and will make more, but I'm learning--you bear that in mind, Hoffman--I'm learning. She leaves. Hoffman gazes up at Angelique's portrait and says, "Oh, this house needs you more than it's ever needed anyone--if there is some way for you to come back to us, please try to do it--you must find it--we're waiting!"
MB!!!! What a GORGEOUS photo!!!
One of my absolute fave Hoffman moments, I MUST write to tell you how much I adore your capture of it!
It MUST be said that Hoffman MUST be one of Grayson's finest hours on DS.
Barnabas goes to the playroom (cool stained glass window in the hall up there). He only carries one candle now. The playroom door is locked. Julia returns with the sheriff. The door has been locked from the inside, reveals Barnabas-sheriff, I want to force the door. The sheriff, however, has some questions. Not now! insists Barn. Look here, says the sheriff, if you two were in the foyer, no one could get a body out of the drawing room, it's not possible. No one knows what's possible or impossible in this house, points out Barnabas--sheriff, you try it-there must be some reason why this is locked-it was open earlier. The door opens immediately for the sheriff, who turns to Barnabas and asks, just how much of this is your own imagination? Barnabas looks at Julia and goes into the room first. The sheriff and Julia follow."[/spoiler]
Rose Cottage - Desmond, hatchet in hand, quietly approaches the head, thinking it he destroys that, the body is bound to die--he must do it before they are reunited. I must do it! he tells himself, but when he opens the curtains, he finds the head gone.[/spoiler]
Old House - Josette is shocked when Bramwell tells her he proposed to Daphne. You and Daphne Harridge? she asks. Is that all you have to say, Mother? he asks. No, she says, I can't say I haven't seen it coming--but do you think it's fair to the child? Daphne's not a child, says Bramwell. Whether she is or not, do you think it's fair? asks Josette. So you're against it, too, says Bramwell. The question is, says Josette, is it what you truly want? If it weren't, I wouldn't even consider it, and you know that, says Bramwell angrily. I know you better than any other person alive, says Josette--I know all you've been through, especially these past few weeks--and the question is one you and only you can answer--are you marrying for love or to get back at Catherine and the others at Collinwood? (She is a practical and gutsy lady; score one for her.) When he doesn't reply, she sternly says, you must answer that as honestly as you know how. I do not think I'm doing anything wrong, or being unfair to anyone, states Bramwell--that's all I can tell you.[/spoiler]
No, says Carolyn, your door has a very specific creak, as do several of the floorboards in the hallway.[/spoiler](http://www.dsboards.com/epimgs/0195-0.jpg)You must have heard Vicki, says Liz, she came to check on me a few times last night--didn't you, Vicki? Yes, I did, Vicki agrees after a moment.
Julia sits on Vicki's bed, hypnotizing her, sending her back in time, twirling her medallion in front of her face. Vicki doesn't want to go back, but Julia promises protection. Vicki thinks Julia is Abigail, and talks about using the book in the trial. Peter says they should use it--it will make the judges believe she came from the 20th century. Where is that book? asks Julia.[/spoiler](http://www.dsboards.com/epimgs/0462-1.jpg)Vicki wishes Barnabas were here, he'd help, he'd get Peter out of jail. It's important, coaxes Julia, try to remember, but Vicki says she doesn't. The bat, says Vicki, Josette said the bat at the window had. . .she won't help her, she thinks she's a witch, too. Then Vicki says the Countess doesn't think she's a witch, and begs her to help Peter. She must go to him, cries Vicki. Julia swirls the medallion, trying to wake Vicki, but Vicki persists in saying she has to help him, don?t stop her.
Edward, wearing a black mourning armband, comes downstairs at Collinwood and checks his mustache in the mirror. He glances at the newspaper and puts it down, then goes to the desk, take a pipe, and sticks it in his mouth. He opens his can of tobacco only to have fake snakes fly out. Carl comes bouncing out from behind the drapes, laughing wildly. Coldly, Edward asks that he be warned about other booby traps he may have hidden in the room. Carl says that would take all the fun out of it. For you, yes, says Edward--you're so easily amused, you must be a very happy person. Carl gathers up his fake snakes and says, I am, most of the time. Edward suggest he can be happy ALL the time, in a sanitarium, where he can show his fellow inmates one prank after another. This turns Carl serious. Edward rants about him playing the buffoon--and only the day after a family member has died.[/spoiler]
Crickets chirp a greeting outside the Evans cottage as Sam returns home. Maggie, wig gone now, calls out, "Pop, is that you?" He removes his jacket, asks how she's feeling and suggests she go back to sleep. The phone rings. Sam checks his watch and answers it. It's Mr. Wells, Maggie's boss. "You must be joking," Sam says, "it's after midnight! Yes, I'll tell her, but next time, will you please send a get-well card?" Sam, none-too-pleased, slams down the phone. "Idiots!" he shouts. Maggie trails out, slipping into her robe, wanting to know who was on the phone. "Our idiot friend, the hotel clerk," Sam sniffs. "He calls here, wakes you up and wants to know how you are." Sam's quite riled, and when Maggie encourages him to forget it, he refuses. Evasive, Maggie says it's not the hotel clerk's fault. They go back and forth about the man's lack of sense--Maggie came home with a headache, after all--but she finally stops her father's tirade by admitting Mr. Wells called because she asked him to--and when Sam answered the phone, said the first thing that came into his mind. He was probably embarrassed, Maggie says, because...and she stops, looking uncomfortable. "Oh, I see," Sam says, catching on. "So now you're getting reports on me, huh?"[/spoiler]
Roger and the doctor troop downstairs. I don't understand it, says Roger--what makes my sister's case so unique? She seems to be a very ill woman, says the doctor, is that right/ How ill is very ill? Asks Roger--let's say it seems something is wrong with her. That's just it, says the doctor, there isn't--there's nothing physically wrong with her--organically, she's in perfect shape--everything I can possibly test here in this house--heart, pulse, eyes, lungs, they all check out fine--there are other things I can't possibly test here--with your permission, I'd like to move her to a hospital in Boston, where they have the necessary equipment to give her a thorough going over. You not only have my permission but my blessing, says Roger--I think it would be a very good thing for Elizabeth to get out of Collinsport for a while. Good--I'll make the necessary arrangements, says the doctor. There is one obstacle, says Roger, helping the doctor into his coat--you have my permission, but you don't have' Liz'--I sometimes think it would take a stick of dynamite to get her out of this house. Then you have to convince her it's of the utmost importance, says the doctor. Thank you very much, says Roger ironically--but how?[/spoiler](http://www.dsboards.com/epimgs/0158-0.jpg)That's up to you, says the doctor--get help from her daughter--do anything to help--it must be done--and quickly.
Only some viewers will be aware of how significant today's photo is.
I recall Dr. Reeves being mentioned from time to time in the post 1967 scripts, but so far as I am aware, this was his only appearance on screen.
Malloy returns to Reeves' office and knocks at the door. He enters and joins Roger and the doctor. It certainly was a fast half hour, says Reeves, I barely got this stuff finished. I saw what I wanted to see, says Bill. Hanky panky? asks the doctor. Didn't say that, says Malloy to Roger, I just said I saw what I wanted to see. Someday I'm going to write a book about Down-Easterners, myself included, says Reeves, I'm going to write about all those words that never get said. I don't know what you're talking about, says Malloy. I'm a freak around here, says Reeves, putting on his jacket, that's what I'm talkin' about--I open up and tell people what I'm thinkin'--for instance, me and Mr. Collins just had a chat about his old friend, Burke Devlin. What about him? asks Malloy. Am I through, Doctor? asks Roger. See what I mean? says the doctor--as soon as the conversation gets onto important things, we hold up a sign: no trespassing. (I adore this doctor's honesty.) Some things are nobody's else's affair, says Malloy. That's all an illusion, says Reeves, in this case, anyway--it was a public trial 10 years ago, wasn't there--and now Burke Devlin's back--do you honestly believe there's not one person in this town that knows why? I can't worry about what people think, says Roger. No, no, I know, you can't do that, says the doctor, all you can do is roll downhill in a car and get yourself nearly killed.
David returns home, where Vicki helps him off with his coat. Here you are, says Liz, just in time for dinner. Did Mr. Loomis come back? asks David. No, says Vicki, and I want you to stop asking about him. I thought I saw him earlier, says David--but only it turned out to be somebody else--my cousin--I met him at the Old House, where I was playing. Barnabas was at the Old House? asks Liz. Yes, says David, hoisting himself up onto the foyer table--at first I thought he was the ghost of the man in that portrait, but then I was disappointed to find out he wasn't. Why would he go to the Old House? wonders Liz. I don't know, says David, but he certainly knows his way around, for someone who's never been there before. He told me he was brought up on stories of Collinwood, says Liz. He must have heard a lot of stories, says David. Not only stories, but perhaps he saw pictures and drawings, suggests Liz. Maybe, says David[/spoiler]
Drawing room - As Naomi and Ben stand in as witnesses, Barnabas and Angelique are married in a simple ceremony, with the groom saying a solemn "I do". He places a ring on her finger, the minister declares them husband and wife, and the reluctant bridegroom plants a chaste kiss on his wife's mouth. The minister offers his best wishes; Naomi kisses Barnabas and tells him to love Angelique, and Barnabas heartily calls Ben to get champagne. Bland takes his leave, saying, "I didn't expect to be this long, as delightful as it was." Barnabas closes the door after him, leaning against it for a moment as though he wishes he could disappear along with the Reverend Bland.[/spoiler]
Liz begins to moan and twist in her sleep, and she finally dreams: Amy, in night clothes, is singing "Rockabye Baby," in the middle of the woods. Liz approaches her and asks if she came to see "her," too. I heard her voice, telling me to come here, says Amy. Liz isn't sure if she heard the voice, but figures she must have. Liz is nervous and wants to go back, but Amy tells her "she" wants to see them. A woman's giggling voice fills the air, getting louder; Liz is afraid. She sees Cassandra, in her very green coat, come out from behind a tree. Liz calls to Amy, but Cassandra tells her the child can't save her. Liz tells Amy she must return to the house. Cassandra tells Liz Amy can't leave unless she tells her to. "You must know of my powers now, Mrs. Stoddard," taunts Cassandra. Liz retorts, "You have no power over either of us." Cassandra orders Amy to go. The child leaves, to Liz' dismay. We have an account to settle, declares Cassandra. Amy wanders off, to Liz' consternation. You are beginning to think of death, just as I told you you would, taunts Cassandra--death is the only thing you can think of, and the closer I come to you, the nearer you are to it! Liz orders her not to come nearer. Cassandra insists, I must touch you, and when I do, it will be as though you are dead--I promised you that. "No!" cries Liz, but Cassandra, reaching out her hand, tells Liz, you can do nothing, Amy will disappear from you and I will come closer, and closer. Screams fill he air.[/spoiler]
Barnabas surveys a headline in the COLLINSPORT STAR--"Mystery Murder." Julia and Barnabas feel responsible for Donna's death--if we hadn't let Chris take Donna with him, could we have stopped it? queries Julia. Barnabas doubts it--wherever Chris and Donna went last night was Donna's fault--she must have delayed him until the moon was up--the werewolf can't help it--he doesn't choose his victims. Carolyn bursts in to tell them Chris was taken to the police station. Patterson is making a terrible mistake, insists Carolyn; Chris had nothing to do with Donna's death.[/spoiler](http://www.dsboards.com/epimgs/0675-3.jpg)Julia asks if she's positive. Of course I am, says Carolyn. Barnabas asks her if she knows where Chris was last night. At home, says Carolyn defensively--since he didn't go to Bangor. Barnabas tells her Chris wasn't at home--we went to the cottage last night when we saw the car was still here--when I invited him to dinner, Chris insisted he had to go to Bangor. Carolyn accuses them of thinking Chris is involved. Julia says we don't know. I'm sure he's not, insists Carolyn. Are you. . .interested in Chris? Asks Barn. Carolyn tosses back an accusation that she'll disgrace the family by liking a man being questioned by the police. Of course not, says Barnabas, I just wondered how much you like him. She just gives her cousin a look. Quite a lot, comments Barnabas. Carolyn admits I DO like Chris enough that it's important I know everything about him--I want you to tell me if there's something you know that I don't. Julia lies and tells her they don't know anymore than she does. I'm going to call our lawyer, Garner, and ask his advice, says Carolyn. (while you're at it, send the son back in time to wrest Vicki away from doofus Peter Bradford!) She closes the double doors and picks up the phone out in the foyer.
Back in the drawing room, Julia asks Barnabas what they're going to do--that poor girl! We can't worry about her now, he says--I want to go to the cottage since I'm sure someone from the sheriff's office will be there to search it shortly, and I want to get there first.
On the phone, Carolyn asks for help from their lawyer--I'm concerned Chris doesn't know his rights, she says--the police might get him to say anything--call the sheriff and go there if necessary. Gardner tells her yes, and she's relieved.
"What are you doing here?" Carl asks Sandor. The gypsy makes sure Carl returns to the drawing room, then locks the basement door. "I live here," answers Sandor. In the cellar? queries Carl.[/spoiler](http://www.dsboards.com/epimgs/0707-2.jpg)What do you want? asks Sandor. I'm looking for Barnabas, says Carl. He isn't here right now, says Sandor, and I don't know where he is. Why are you still living here, now that Barnabas has taken over? asks Carl. We made a bargain, says Sandor--in exchange for certain duties, Barnabas lets us stay (yes, vampire protection being chief amongst them). He's hired you as his servants, says Carl. You could say that, agrees Sandor. Carl laughs, remarking of Barnabas, "He is a weird one, isn't he?" Sandor frowns at him. No offense, Carl assures him. Barnabas will be back tonight, says Sandor. I can't wait that long, complains Carl. Go away and return tonight, suggests Sandor. I can't do that, either, says Carl--I can't return to Collinwood without Barnabas, and they won't believe I can't find him--Edward doesn't believe anything I say. Sandor roars with laughter and pounds the furniture, suggesting, there's gypsy blood in you somewhere. Carl giggles along with Sandor, asking him what he means, and both continue to laugh as Sandor says no one in the family trusts anyone else.
Also, I have to wonder if the writers intended, as they often do, a dig against the clergy by giving the reverend the name Bland. Though, considering what they do with 1795/96's Trask and 1897's Gregory Trask, that would have been but a mild dig. [santa_wink]
Philip waits down in the shop. Megan comes downstairs--he won't leave, she says--he won't go! Did she explain it was to his advantage? asks Philip--it would be safer. I explained exactly, and he was contemptuous, she says. Did you lock him in? asks Philip. No, she says, he doesn't like being locked anymore, besides, there's no point--no lock will hold him. She looks at Philip's face and says, "You ARE frightened of him, aren't you? Yes, admits Philip, frightened of him upstairs and of those who are hunting him--and I'm sick to death of the whole situation!--Megan, I don't know how we got into this, but do know now is the time to get out--if he won't go, we must, right now. Run and leave him? asks Megan, disconcerted. Leave him, everything, get out with our lives and consider ourselves fortunate, says Philip. Maybe I consider myself fortunate having what I have here, she says--maybe I can't leave him.[/spoiler]
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.[/spoiler](http://www.dsboards.com/epimgs/0977-1.jpg)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.
Gerard finds Leticia sitting in a chair, staring into the fire at Rose Cottage. Do you feel a little better? he asks. Look who wants something now, she says. I can't hide it, he admits, I do. And what might it be? she asks. I'll be honest, he says--the suspense is killing me--I must find out what the future holds for me! She looks at him and asks, "You want me to tell you?" Yes, he says forcefully, then adds, "Please." You weren't willing to help me at Collinwood, she says, I don't believe I'll help you now. I would help you, he says but you wouldn't tell me anything--I'll help you now, if you want to say anything to me. It's all right, luv, she says, I don't need your help now--you'll just have to manage your little problem by yourself. Now, you don't mean that, he says. Yes I do, she insists--you haven't treated me right, Gerard.[/spoiler]
Catherine closes the drawing room window and wanders around for a few moments. Daphne rushes in--Catherine, we must put our differences aside now--"You're my sister, and I do love you, and I don't want to see anything bad happen to you--please Catherine, don't go into that room tonight!"[/spoiler]
Charity realizes there really IS no time to lose--the minute Quentin falls asleep, Petofi will have him--forever! Horrified, Charity slides out of bed and goes down to the drawing room, where Quentin is drinking his brandy. Mustn't sleep, he tells himself drowsily--too much to do before I leave, but maybe...just for a minute... The glass begins to fall, as in Charity/Pansy's vision."[/spoiler]
Nice photo of Quentin today. Looks as if he's ready to celebrate New Year's Eve early!
Tom Jennings appears, startling Nicholas. I finished the wiring, the handyman says--was there anything else you wanted, Mr. Blair? No, says Nicholas, it's late, you'd better go. Tom wants to check out the cellar, see what else needs doing, but Nicholas assures him the cellar is in good condition. Tom wants to check the foundations and barges into the room Nicholas never had a chance to lock. He's surprised to see the coffin, which Nicholas says was there when he moved in.[/spoiler](http://www.dsboards.com/epimgs/0554-2.jpg)Tom is surprised and rather grossed out, but Nicholas says it's empty and he's getting rid of it--it was probably left as a practical joke. Tom doesn't find it funny. He says he'd better be going, and leaves, quickly. Nicholas says, "Too bad you had to open that door, Jennings. I could almost pity you, knowing what must be in store for you now."
Ah, the insidious Nicholas Blair at his most eeee-vil!
It's Nicholas, who asks for Carolyn. She went to town, says Julia, and Nicholas observes how distressed she is. She tells him about Vicki's disappearance, and he expresses his concern and hope she's all right. That accounts for Barnabas' odd behavior in the woods, says Nicholas. He saw him running, and he had a strange expression on his face, distorted as though he were angry or frightened, and he seemed to be running from something--curious, most curious, says Nicholas, smiling, and Julia watches this scene intently.(http://www.dsboards.com/epimgs/0554-3.jpg)
Mrs. Johnson enters the study to find Willie looking through Collins family history books.[/spoiler](http://www.dsboards.com/epimgs/0209-2.jpg)He shmoozes her up and learns the location of the family mausoleum in Eagle Hill Cemetery.
Because you don't happen to agree with the jury, accuses Roger, you think you can come here and steal Collinwood! Not steal, says Burke, I've never stolen anything--not even five years out of a man's life. Are you insinuating that I stole five years from your life? asks Roger. I didn't give them away, says Burke--I didn't sell or lend them, therefore, they must have been stolen--by you--you should have served that time, not me. You have not one iota of proof for what you say! says Roger. I will have, says Burke, see, I don't put much faith in the old adage that murder will out--because I don't think it will out by itself, it has to be pried out with some sort of lever. And you think you have found that lever, says Roger. I think Bill Malloy found it, says Burke--and what he can find, I can. It is all dead, buried and forgotten, says Roger. Not forgotten, not for one minute, says Burke, not have I forgotten the reason I came to Collinsport![/spoiler]
You saw a ghost? he asks--are you serious? I told you you'd think I'd lost my mind, says Vicki. I don't think that for a minute, he says, but I do think you'd better explain. How can I explain something that defies description, something that was unreal, something I KNOW couldn't exist? asks Vicki--I saw the ghost of Bill Malloy--he ran the cannery for Mrs. Stoddard--he was killed on Lookout Point, and he fell from the rocks. I know all about him, my dad told me, says Frank--this thing you saw, it looked like Malloy. It was Mr. Malloy, says Vicki, it even sang his favorite song, "What Do You Do With a Drunken Sailor"--and it spoke to me. It SPOKE to you? he asks. Yes, he told me he'd been killed by someone in Collinsport, and I must leave because I'm in danger, explains Vicki. Where did you see this whatever it was you saw? he asks. In a locked up room in the closed-off section of the house, she says--it appeared from no where.[/spoiler]
2 AM - The clock beside Liz ticks. Walking up the stairs, I was walking up the stairs, she murmurs--the storm, lightning, I was walking through the storm, yes, walking--where?--the cottage--that's right--inside, Laura, inside the cottage! Laura! She sits up. Laura, go, not David, Laura must go!--threaten--don't threaten me!--inside the cottage--I remember now--Vicki, Roger, come quickly, I remember, inside Laura's cottage, that's where it was, inside Laura's cottage! She leaves her bed and puts on her robe, then spots a dark figure in front of the window, silhouetted in lightning. Roger? Vicki? asks Liz. Is that you, Carolyn? Who's there? The figure comes closer. Who is it? Answer me! Who's there? Who is it?[/spoiler](http://www.dsboards.com/epimgs/0156-3.jpg)Answer me! Liz screams, covering her face. The figure disappears. Liz grabs onto the bedpost and clings to it, sinking down.
A dog barks as Jason touches a tombstone outside the mausoleum. Go away! calls the caretaker. Who's there? asks Jason. Only the dead, says the caretaker, now go away. He joins Jason outside. I'm looking for someone, says Jason, a young man, he might be here. The living must leave here, insists the caretaker, must never come here again--he should never have come here, I should never have let him stay--the last living man I'll ever allow here, mumbles the caretaker, no one may ever come here again. Look, old man, I don't know who you are, says Jason, but if there was a young man here, I want to know what he did, when he was here and where he went.[/spoiler](http://www.dsboards.com/epimgs/0211-3.jpg)Sacrilege! Says the caretaker, resentfully, disturbing the dead!--criminal, that's what he is--he pretended to be someone he wasn't. If that were a crime, we'd all be in jail, says Jason--now, what did he want here--what did he do? He said he was a Collins, but I knew he wasn't, says the caretaker, he said he wanted to pay his respects--but he has no respect.
I'm sorry I missed Willie and Mrs. Johnson!
He walks away, tells her that when he's alone in his room, he doesn't feel this fever for her; then returns to her side and kisses her face. Let everyone in the house know, insists Josette. we must be together! Jeremiah succumbs, then cries out this can't be--he is leaving Collinsport, now, tonight. He races from the room. Josette is upset and confused.[/spoiler]
And interestingly enough there are actually several "MUST" lines in this scene. And as I mentioned back on August 22nd, one that we're still holding onto will fit in perfectly with a future sub-theme. Though while we know what that sub-theme will be, we've yet to decide when it will come up...
Barnabas kneels besides Vicki's grave and tells Julia he must go back in time to help her. Julia kneels with him and says it's isn't necessary--Vicki went to the past once before and when she was about to be hanged, she was somehow returned to the present.[/spoiler](http://www.dsboards.com/epimgs/0661-1.jpg)Only because there was someone in the present to take her place, says Barnabas--and the tombstone is proof--this time Vicki went to the gallows and died--I must go back a few hours before that and save her. What would you do? she asks. I'd change the events that took place the day she was hanged, he replies.
"You must stop them!" she begs--"He must stay where he is." Stokes asks who she is, and she responds, "Magda! My curse. . .my curse!" She screams the words. Stokes asks what curse. Carolyn screams and Chris grabs her into his arms, halting everything. "Stop it!" cries Chris. Stokes tells them all that whoever was there, is gone.[/spoiler]
Old House - Julianka lights candles (including a black one, of course). She holds up a glass of nightshade, "a gift of the devil god for those who hunt rest without peace." The devil's thatch, a gift to remind us that agony is not only human, for the spirit lives on, and when there is spirit, there is agony. Great god of the distant mountains, beloved of my people, help me tonight when the moon begins its downward path--give me the power that was my mother's--let me help this man." She holds her hands in prayer. Barnabas and Quentin enter. She looks at the latter and says, I see the sign over his head. Rest, she tells Quentin. He sinks down on the purple thing and asks, can you cure me? She nods. Are you sure? he asks--if you use the hand, might I not turn into something even more frightening?[/spoiler](http://www.dsboards.com/epimgs/0796-3.jpg)Not if the ancient gods are with us, she says--and they will be--I must go in a moment, find the one thing that will draw them here--it will not fail-- the new blood of the orris root. Quentin turns away, disgusted. "You do not believe me," says Julianka. "You will..
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.[/spoiler]
Nice photo of Big Lou today.
Quentin races to Hannah's side. What happened? he asks. "My throat!" she cries. "Light the lights, quick!" He does as she asks. Whatever is throttling Hannah lets go. She gasps out to Quentin, a hand was choking me!. Sounding as if he doesn't believe her, he insists, tell me what happened. She flatly informs him, I can't do anything to help you, because the spirit that roams these rooms won't be driven out--it wants to stay--and it's powerful--believe me, most powerful! There must be something that can be done, protests Quentin. Look! says Hannah, pointing to the desk drawer, which is opening by itself. What does it mean? asks Quentin. Look inside and see! blares Hannah. Quentin opens the drawer and takes out Bruno's sheet music, which has blood on it.[/spoiler](http://www.dsboards.com/epimgs/0993-4.jpg)There's a note, says Quentin--"It must be tonight." In whose hand? she asks. I can't make that out, he says--it's printed; it's all got to mean something--Bruno, the music, the message. All I know is, says the terrified Hannah, I must leave this house! You mean you can't explain anymore of this? asks Quentin angrily. I'm too frightened to try, she admits. Promise me, he says, don't mention any of this to Bruno. Do you think he's implicated in some way? she asks. PROMISE ME! he shouts. She agrees--if I can, but please, I must go. He grabs her arm and orders, tell me if you find out anything more about this. She nods, pulling away, but cautions, expect nothing at all from me. Sounding as if she's going to cry, she runs off. The clock shows 10:10.
Aunt Hannah! Always great to see her, though she understandably is not at all happy here.
Julia gets excited--listen, she says, and reads from the book, "On October 14th, 1839, the original Quentin wrote, “Tonight I do what I dread--I must go and see G at the cottage." G must mean Gerard, says Julia and the cottage must mean Rose Cottage--Gerard must have lived there. Yes, says Barn, and it also could be the cottage on the estate. If we only knew what Gerard's connection with the family was, says Julia--and he wasn't a servant, he wouldn't be living here--the original Quentin's diary doesn't mention him as a friend--I'll go to town tomorrow and check the real estate records again--I am sure, of all the clues, Rose Cottage seems to be the most important. I'm not sure it is, says Barnabas--the murder fascinates me--you'd think there would be some record of it in one of the diaries, but there hasn't been. If we learn about Rose Cottage, says Julia, we'll know about the murder, too, I don't know why I feel so strongly about it, but I do.[/spoiler]
Collinwood - Samantha sits on the sofa, sniffing smelling salts. She tells the pacing Gerard, you shouldn't worry about me--you've got to go to the police. Yes, he says, I'll help the police search the grounds--you must stay here and take care of yourself, everything will be all right as soon as we find her. He leaves. Sam leans back with the smelling salts.[/spoiler]
I'm very relieved that everything worked out.
The lottery has been held, she says, we agreed on the rules beforehand, I must go into the room. Oh, but darling, he objects, hugging her, it isn't fair!--we've only been married such a short time--you don't understand, one thing or another may happen to you--you may die or go insane--I can't bear the thought of that, and won't let it happen to you--I want to take your place. The family would never allow it, she insists. He rises from the sofa--I'll order a carriage, he says, we can be gone long before dusk. What are you saying? she demands. I'm going to take you away from here--as far as it will go. Do you think that will solve anything? she asks. If it will keep you out of the room, I'm willing to do it, yes, he says. This family has believed in this curse for a very long time, she says, and they all say that you can't run from it--it will find you wherever you go.[/spoiler]
Matthew sips tea or coffee in his cottage. He has just turned off the light when Liz comes to the door. He invites her in and turns the light back on. Is there something wrong? he asks. I don't know, she says, is there? Not that I know of, he says. She sits in a rocking chair and says it seems odd--Carolyn and Miss Winters were so positive. It's tricky light, says Matthew, at first glance, I thought I saw what they were taking about--even with the flashlight, I couldn't tell from the top of the hill--that's why I went all the way down--t'wasn't easy, not knowing what I'd find there. What did you expect to find? asks Liz. To tell you the truth, says Matthew, I expected to find Mr. Malloy. Liz sits up in he chair--why? she asks. His disappearance isn't exactly a family secret, says Matthew, siting across from her--he has lots of friends in Collinsport--all of them wondering. What are they saying? she asks. Not much of anything, just wondering, says Matthew. Don't they simply assume he's away on business? asks Liz. No, says Matthew, they don't, he was a man of habits--one of them was to drive into Bangor in his own car, yet it's sitting in front of his house. Where do you imagine he might have gone? asks Liz. I couldn't say, says Matthew. It doesn't make sense, she says, he was looking into something very important for me--he wouldn't just walk off without saying anything. No, he wouldn't, agrees Matthew. Then what do you think what has happened to him? she asks. I'd like to know that myself, he says, I'd like to find out before they start making a lot of inquiries at the house, tromping on the grounds and takin' pictures and messing around with things that don't concern them. I suppose we have to expect that if Mr. Malloy doesn't come back soon, says Liz--he must have known his absence would cause people to wonder--why do you suppose he's staying away like this? Maybe he was kept away by something he couldn't help, suggests Matthew. Maybe, says Liz--would you mind very much showing me what it was you saw, so I can at least get rid of Carolyn's fears? He goes to find the flashlight and they leave the cottage.[/spoiler]
MB, I am so relieved you are OK! And that feels truly miraculous that you had a quiet room and mostly pleasant stay in the hospital. Great as well that you got a clean bill of health on Corona.
I have to take a rapid test weekly because I'm working on site (in a huge building, usually with only 2 or 3 other people on the same floor as me).
Today's shot of Liz is gorgeous!
I thought the rapid test wasn't too reliable, so I'm surprised a hospital would use that to determine being in the "clear" section.
Barnabas, sad and angry, accuses Josette of lying to him and trying to leave him.[/spoiler](http://www.dsboards.com/epimgs/0239-4.jpg)"You must never leave me," he warns, and lurches at her menacingly. Maggie screams.
Today's capture of Barnabas and Maggie is really good.
I don't feel it's ever been really emphasized just how transgressive that storyline was in 1967. Maybe daytime writers don't think that much about it because kidnapping storylines became so popular later, I guess from the 1970s onwards. I've often wondered if DC or the writers deciding to put Maggie through yet another kidnapping storyline in PT 1970 influenced KLS's decision to leave.
I read on a social media group a few months ago about a kidnapping storyline (maybe from a 1980s or 1990s soap opera) where this woman was buried alive but in a coffin with HVAC. The kidnapper, some madwoman (sorry can't recall the soap) would visit her periodically to gloat about how she was taking the woman's man and other possessions away from her. Sounded really whacky. I believe the victim was eventually released, no doubt with hair, eyeliner and lipstick flawlessly styled.
Angelique, watching from the fire, tells Ben now they have to wait--Barnabas will be changed. Upset, Ben says he doesn't want to see his master different, sad, but Angelique wants him to view her bitchy handiwork. He tells her again how mean she is. She says they must go downstairs separately, and he leers, "Why? Do you think they'll think there's somethin' between us?" She orders him not to make her angry, or she'll turn him into a moth, and he calls her a mean, unmerciful woman. Respect me, she warns.[/spoiler]
The cat fight is interrupted by a knock at the door. It's Prof. Stokes,looking for Julia. He is glad to see her, and says he was playing chess with a friend of his, and the friend was taken ill. He wants Julia to come with him. He notices how upset she is, and she says he must find someone else. No, he insists, I can't. She says she's just come in from a case, she'll find him someone else, she says distractedly, and Cassandra tries to plead exhaustion on Julia's behalf-she's been saying incredible things to her tonight and she thinks Stokes had better not bother her. "Yes, and you know that exactly, don't you?" Julia says as Stokes gazes back and forth between the two women. Cassandra tells Julia to get some sleep and heads upstairs, telling Stokes she's sorry she can't help him. Stokes and Julia go into the drawing room and he closes the doors. He is perplexed, and she says she's had enough. He tells her the patient is Adam, and she must come. He's had a strange attack-I think he's dead--think it, but don't believe it-you must come.[/spoiler]
Beth has packed her belongings in a suitcase, which she closes. She glances through the window.and begins tying a hat on her head. Quentin comes in, joyously holding and pawing her. "You decided to come with me, eh?" he asks. Yes, she says, pulling away from him. You don't sound very enthused, he complains. Beth turns to look at him, then asks, why do you want me to go with you? That's obvious, he says, for a long time--"I love you, Beth." I've been thinking about us since the other night, she says, and if we are going away, you must be honest--you don't want me along because you love me, because I'm not sure you love me--or anyone (wise gal). Quentin doesn't answer, but turns away from her when he denies what she said. You want me with you, says Beth, because you're the kind of person who can't ever be alone or do anything alone--people mean nothing to you, you use them and when you're tired and bored, you discard them in favor of new ones. If that's the way you feel, he asks gently, why have you decided to come with me? I love you, she says, and care about what happens to you--every instinct tells me not to go, but I'm going anyway. He takes her in his arms and assures her, you won't regret it, then plants a big kiss on her. I'll take you back to the carriage, he says. I have something to do, she says, a personal matter in Collinsport. There isn't time, he says desperately--it will be dark soon, we must leave. Beth, however, insists, I must go.[/spoiler]
Jeb returns to Collinwood. I wonder if the shadow will still be awaiting me in this house?--has she tricked me? Hesitantly, he enters the house, looking around the dark foyer warily. He turns on the light and stares around himself, then enters the drawing room, turns on lights there, but sees no shadow. Carolyn! he calls eagerly. She comes running downstairs. It's all over, he says, dancing her around, the shadow is gone. She hugs him. We're free! he exults, it's gone! They hug enthusiastically. Are you sure? she asks--what happened? I had to put it on Nicholas, says Jeb--he's dead--he was going to kill me, explains Jeb, trying to hypnotize me, I took the shadow from my pocket, placed it on his heart--he screamed, and I ran out, I didn't even see the shadow--it's over!--when I think of all I put you through when all I wanted to do was give you happiness--now I will--we must leave here; go to anyplace, away from all this. Where would that be? she asks, will we find one, or will there be someone there who hates you as much as Nicholas Blair does? No, says Jeb. How will you be sure? she asks--why did he hate you so? It's all gone, in the past, insists Jeb, no point in discussing it--let's just leave here tonight. We ran away once before, she reminds him. The shadow was on me then, says Jeb--this time it's different, we can forget everything that happened here. Yes, says Carolyn, hugging him, we can. I promise you that wherever we go, it will be different, he says. She looks unsure.[/spoiler]
Roxanne enters. Why did you kill him? she asks Barnabas, who rises to his feet, delighted to see her. Are you referring to Claude North? he asks--I didn't kill him, Stokes did! I don't believe you, says Roxanne--you killed him and you must die for it! She holds up the dagger at stabbing height. Barnabas recognizes it as the dagger he saw in the secret room--where did you get it? he asks. It was Claude's, and mine, says Roxanne, it belonged to the two of us--it brought us together in a way no two people have been brought together before (so romantic)! He made me take a vow on it--that I would kill anyone who harmed him[/spoiler](http://www.dsboards.com/epimgs/1057-3.jpg)--and I intend to keep that vow. Claude is dead, says Barnabas, and no longer has a hold over you, you are free. I made a promise, she says. He forced you to make it, says Barn, you didn't do it freely--you cannot hold to it any longer. I've GOT to, she insists, raising the dagger, but instead she drops it and begins to cry. Barnabas puts his hands on her shoulders--it's all right, he assures her. Am I free, really free? she asks. Yes, you are, he says. I don't know, it frightens me, she says, I'm lost without him! There are others to comfort you, says Barn. No, I needed Claude, and he's dead, dead, she says. Sit down, he suggests. I can't stay here anymore, insists Roxanne, I've got to go. I need your help, he pleads. I can't help anyone, she says. Yes you can, he says, you can tell Hamilton exactly what you know. The police? she asks. Yes, says Barn, you must tell prove to them... I can't talk to them, she objects, I wouldn't dare. You must--they won't hurt you, he assures her. I can't stay here any longer, she says, I must go--they couldn't keep me, I couldn't stand it! She runs off. Barnabas, begging, I need your help!, runs after her.
Don't let her touch me, says Daniel, you must make her go away! If I do, says Angelique, will all your memories of Barnabas and Angelique disappear with her? Yes, yes, please, please! he says. You must understand, warns Ang, that anytime you start to remember, she will come to you. I won't remember, he swears. No, says Ang, you will not remember anything, even this!--but it will lie deep in your consciousness. Daniel, nearly sobbing, Harriet still reaching to touch him, promises he will not remember. Angelique says she will send Harriet back to the waters that are he grave, but know that she must come to Daniel whenever he thinks of Angelique. Daniel is sobbing as Harriet's ghost fades.[/spoiler]
Today's episode brings up memories--it was one of 2 released by MPI on a special promo tape back circa 1992 as "the 1840 Flashback." It was exciting to see these at the time. I didn't get the Sci Fi Channel and hadn't seen these since 1970.
It was strange that I learned there was a rumor in fandom that Grayson played the ghost of Harriet Collins. The actress doesn't resemble Grayson at all. I figured the confusion occurred because nobody had seen this show since 1970 and people's episode log notes did indicate that crazy Daniel for some reason thought Julia was Harriet come back from the grave to haunt and taunt him.
[spoiler]Wednesday's quote:
Ep #1131 (1840) - Angerie - 'Harriet Collins, return again to the waters that are your grave, but know, you MUST COME to Daniel whenever he thinks of Angelique.'[/spoiler]
Old House - Daphne, wearing a pretty white nightgown, comes downstairs. Josette, shocked to see her out of bed, asks, what are you doing? I want to be here, insists Daphne, to greet Bramwell when he comes home. But you know what the doctor said, protests Josette--you need complete rest--you must stay in bed. When is he coming home? asks Daphne. Soon, promises Josette, very soon. She helps the ill young woman slowly back upstairs..[/spoiler]
This is just about empty, Sam says of the bottle, I'll go get another one from the kitchen. He leaves. Burke watches after him--that's my story, he tells Vicki. It's just so hard to believe Mr. Collins would lie, says Vicki. Why not? asks Burke--it was his neck or mine. You could be wrong, says Maggie--you say you don't really remember. Yes, agrees Burke, I could be wrong--but I'm not. He smiles. Well, he says, I hope I haven't ruined your dinner party with all this ancient history. I'll see about getting dinner on the table, says Maggie, somewhat resentfully. And would you tell Sam to come out for a minute? Asks Burke--I miss his company. Maggie goes into the kitchen. Do you believe my story? asks Burke of Vicki. I don't know what I believe, she says. That's a beginning, anyway, says Burke. Maggie rejoins them and says he Pop isn't in the kitchen, and must have gone out the back way--what is it, Burke, I've got to know what's happening? He's running, says Burke. From what? demands Maggie. Himself, says Burke--from Sam Evans![/spoiler]
Roger comes over and orders Liz to tell him to leave tomorrow. Jason says yes, tell me to leave tomorrow, and I will, for that matter, tell me to leave tonight--you only need say the word. Say it, Liz, say it! says Roger. Stop it, she orders her brother, and Jason says yes, says it, Liz, I'm sure it won't reflect on our long, long friendship, and it certainly won't have any effect on the deep, deep understanding we've always shared. He gives her a significant look. The memories of other days, of your husband, Jason reminds her. Roger says she wants to forget completely about her husband, says Roger. Don't be so sure, says Jason, adding there are some memories he can't possibly LET her forget--so just say the word, the decision is yours, tell me to leave and I will-- immediately. "Liz, please!" begs Roger. Well, Liz, you must decide, says Jason, may I stay? Yes, of course you must stay, says Liz, stunning her brother. Liz! Says Roger, hurt. Jason smiles smarmily, saying if she wants him to stay, he will. "And thank you very much, Elizabeth, thank you very much indeed," says Jason, raising his glass to her. I'm very relieved, he says, looking at Roger, "now that we've had this out."[/spoiler]
Josette immediately runs downstairs to Barnabas, who spots the mark on her hand. She dismisses it as a bruise. Trancelike, she tells him to stop Jeremiah from leaving. She knows why he's going--he hates her and disapproves of her marriage to Barnabas![/spoiler]
The dogs howl. Barnabas, at the Old House (in my favorite red smoking jacket and a scarf to hide his fang marks), is writing something. He is perturbed to hear first the dogs, then Angelique summoning him. You have to come to me, she pleads, I don't know what to do--come to me NOW! Barnabas tries to resist, but it's futile. Now! She demands. Barnabas, in a trance, heads out the door.[/spoiler]
You know, says Petofi, as I do, that the gypsies are coming here--I suspect the town will be swarming with them. You already knew? she asks, perturbed. It wasn't an act of clairvoyance, I learned by accident, he replies. What will you do? she asks. Nothing, he says--they won't be looking for me unless they know I'm here--and they don't--the note suggests they are looking for you, he says. Help me, protect me, she says. If I protect you, says Petofi, they may find me, he points out--I'm reluctant to endanger my own life. Maybe they will find out you are in Collinsport, she suggests. They won't know unless you tell them, he says, and you won't betray me because you won't be able to speak or write my name! He touches her mouth with the magic hand--try to say it, he suggests. Magda can't do it! And you will not, he warns--is that quite clear?--I hope your brethren won't be too angry when they find you--I have a certain fondness for you, but you must go now. I don't want to go back to the Old House now, insists Magda. I have another visitor, he says, so get out.[/spoiler](http://www.dsboards.com/epimgs/0820-3.jpg)She sneers, "I hope it's King Johnny himself!" then turns and leaves.
Great photo of Count Petofi and Magda.
I'd forgotten that he expressed a "certain fondness" for her.
It doesn't seem to make her feel any better.
Great storyline!
Those are great, great, GREAT captures of Magda and the Count.
And I know what I'm watching tonight.
This place--does it belong to the Collins family? asks Jason. Yes, says the caretaker, Joshua and Naomi Collins--and one of the children--another child, a son, is buried in England they say. Is that all that's happened? asks Jason--just the lock broken? He should never have gone inside, says the caretaker. Why, what's in there? asks Jason. The dead, asleep and at peace, says the caretaker. Is that all? asks Jason. Evil, says the caretaker, evil hovers there, can't you feel it? No, can't say that I do, replies Jason--nothing inside was disturbed, was it? Yes! says the caretaker. You mean somebody disturbed the coffins? Asks Jason. Nothing that profane, says the caretaker, but the dead were disturbed, I can tell! Do you mind if I go in there? asks Jason. Please, you mustn't! begs the caretaker. Why not? asks Jason. I told you, evil is in there! the caretaker replies. Suppose I just take my chances, grins Jason, entering the tomb. No, no, no, for your own sake! cries the caretaker, but he follows Jason inside, telling him they shouldn't be in here--doesn't he feel it? These are the tombs of Joshua and Naomi Collins, says Jason, pointing to them. Yes, says the caretaker, pointing to the third coffin, there is the child, Sarah. I don't see what you're so excited about, says Jason, nothing seems to be disturbed. Something happened in here, someone was in here, insists the caretaker, we mustn't stay.[/spoiler]
Vicki sleeps. Adam watches her. Nicholas returns and says he can take Vicki away now--my house isn't far, he says, pleased that Adam used the drugs he gave him. Vicki will sleep several hours, says Nicholas, and will awaken in her new hiding place. She won't know where she is. Don't harm her, demands Adam, and Nicholas promises she won't be if Barnabas cooperates. Adam wants to come along, but Nicholas refuses--you must stay here. Adam wants to go to ensure Vicki's safety. You must trust me, says Nicholas. Adam continues to insist, and Nicholas says it would be a problem if he disappears from this room--Carolyn would immediately suspect Adam was connected with Vicki's disappearance and call the police.[/spoiler]
Love seeing Nicholas giving Adam his orders.
It was amazing how nobody seemed able to get through to Adam but Nicholas--and somewhat, Professor Stokes.
I have decided to close Worthington Hall and leave Collinsport forever, says Trask. This boggles Judith's mind. No! she cries. Trask admits, it's been a difficult decision, and I don't want you to dissuade me. You must reconsider, she insists, for the sake of the children. I can't think of them, says Trask. I think you're leaving because of my family, says Judith, and all that has happened. No, he says, just one of the Collinses has made me come to this decision. Judith guesses Edward, then Quentin, but Trask pretends he can't confess at first. Then he tells her, reluctantly, YOU are the one. Have I done something to offend you? she asks. No, you've been here, he says, and that's the reason I must leave--you're in this house, and I'm no more than 10 minutes away, thinking of you, wondering what you're doing (with your money), contemplating your goodness, faith, your hold on the virtues of life (and all that money)--"Oh, Judith, I cannot bear it any longer! You would never consider marrying me!" (Whoa baby, his wife isn't even cold yet!) Judith is shocked--marry you? "Judith, would you marry me?" he asks. She stares at him, stunned by his proposal.[/spoiler]
Judith looks angry at first. She rises from the sofa, silent. He apologizes--I thought I had learned to contain my natural impetuousness--you're insulted by my presumption (Judith interrupts and says that isn't true), "but believe me, Judith, even in my innermost thoughts in my wildest dreams, I know there is no hope for my suit, but at least now you know the real reason I must leave Collinsport--it is impossible!"
I loved that dress Judith is wearing today.
I've always wondered whether Ramse Mostoller made some of the costumes for 1897. Presumably most if not all were rentals, as I have read was the case with 1795.
You certainly were well schooled in the family history, says Liz approvingly. I wouldn't be a Collins if I weren't, he points out, walking away from the window--and I wouldn't be a Collins if I didn't recognize in my blood, in my soul, that my roots are here--and perhaps my destiny. (gives me shivers) Forgive me, he tells Liz, who looks at him with a fond smile, I tend to romanticize--promise you'll pay no attention to me. I understand, she says. Now I must go, he says.[/spoiler]
Dirk re-enters the Peabody Farm cellar and closes the doors after himself. Rachel asks him, who are you watching for? For Laura to come back, he replies. But she's dead, objects Rachel. Some people have powers to restore the dead, says Dirk--you don't understand, but you don't have to--just be quiet and wait. Then what? asks Rachel. I don't know, he says, and adds passionately, hitting a wall or something, "She MUST come back to me, she must!"[/spoiler]
4:00 - Collinwood drawing room - The clock chimes the hour. Three more hours until darkness, muses Kendrick, and then...I WILL break the curse--I must! He rubs his eyes.[/spoiler]
At last that nightmare is over, he says, we don't have to worry about that anymore. I don't think that's quite true, she says--aren't you forgetting about Burke? Of course I'm not forgetting about Burke, says Roger, won't he be disappointed when he learns that I had nothing to do with Malloy's death. If I know Burke, he'll also be twice as determined to destroy us, says Liz. I'm not afraid of Devlin anymore, says Roger. I'm not afraid of him, either, says Liz, but don't underestimate him[/spoiler](http://www.dsboards.com/epimgs/0112-3.jpg)--he won't stop until he's satisfied--which means we must destroy him--or be destroyed!
Daphne sits in the Collinwood drawing room, relaxing on the sofa. Gerard watches her, witch's symbol in hand: You will sleep, Daphne, sleep, you will have your last dream, the dream you must have and learn that we must be man and wife--sleep, Daphne, sleep--and you will remember the reason for our love...sleep, sleep, sleep! Daphne falls into slumber and dreams.[/spoiler]
but there's something else we discovered--an old newspaper, dated 1867--it tells of a death by fire of Laura Murdoch Radcliffe--it also tells about her son--as she was being consumed by the flames, attempts were made to rescue her, but she refused. Her son tried to rescue her? he asks. Oh, no, says Vicki, she was holding her son, clutching him in her arms. He...he burned to death with her? asks Burke. Yes, says Vicki. That's a pretty hair-raising story, isn't it? asks Burke. My heart almost stopped beating when I heard his name, says Vicki--his name, of course, was David.[/spoiler]
David? asks Roger, sickened. Yes, David, says Peter. I must admit, says Roger, sitting down at the desk, I find all this terribly disturbing. Then I can count on your cooperation? Asks Peter, sitting beside him. I said disturbing, admits Roger, I didn't say convincing. Then I don't know what else to say to you, short of begging you, says Peter desperately. Do you realize what a serious accusation you're making against my wife, without any real proof? Asks Roger. In time, I might get it, and that's what I need, says Peter--time--and during that time, David must be kept away from Mrs. Collins.
Julia (who looks fetching in a dark blue outfit with a light blue scarf and pretty pin), picks up the ringing telephone. The woman at the other end asks, is this Collinwood? Yes, replies Julia. Is Barnabas there? the woman inquires. He isn't in at the moment, says Julia, but I'm expecting him soon--who is this, please? "This is Roxanne Drew," says the woman at the other end of the phone, smiling. Julia is stupefied.[/spoiler]
This is Julia Hoffman, says Julia. You must have confused me with the other Roxanne, the redhead says, Mr. Collins mentioned her to me. Oh, did he? asks Julia. Could I leave a message? Roxanne asks--I won't be able to have supper with him tonight--I am sorry. Julia promises to tell him. Please do, says Roxanne, I hate the thought of him waiting there for me.(http://www.dsboards.com/epimgs/1082-1.jpg)I understand, says Julia. Thank you very much, says Roxanne. They say goodbye.
Tiredly, Julia says, I wonder why I always have to be the one to talk senseThough does Barnabas listen? No. But then, so what else should we expect?
When Burke comes to Collinwood to pick up Vicki, she's in the drawing room, listening to the music box. He invites her for a ride to Bangor and dinner (pretending to sell magazines, as I recall). I'd love to, says Vicki, but first I want to place flowers on a friend's grave. He assumes she's referring to Maggie, but Vicki tells him it's Josette.[/spoiler](http://www.dsboards.com/epimgs/0283-2.jpg)Burke isn't pleased with the idea. She invites him in and shows him her gift from Barnabas. Collinwood is getting to you, says Burke, and your extreme interest in the past isn't healthy. Josette has done good things for me, protests Vicki, and I'm going to the cemetery with or without you. Burke gives in and agrees to join her.
Maggie, terrified, watches Stokes pet his gun. "You're going to kill him, aren't you?" she asks. Let's just say that once this evening is over, all our little scores will be settled, promises Stokes. Quentin, don't come in! screams Maggie--he's got a gun! Quentin, true to form, bursts in anyway, running to Maggie's side--are you all right? he asks. I am, she assures him. Whatever our differences, Stokes, it's between the two of us, says Quentin--let Maggie go, I'll stay. Quentin, objects Maggie. You'll both stay, says Stokes--has Angelique's body been cremated yet? Yes, says Quentin. You must feel very satisfied, says Stokes. I don't feel anything, says Quentin, I'm just glad it's over. It's not over yet, says Stokes, I intend to finish what Angelique started--I restored her to life, she was determined to resume her rightful place as mistress of Collinwood--unfortunately, now it's not possible for her to be with you--but it's quite possible for you to be with her. Quentin, he's going to kill you, says Maggie in a hushed voice. Don't be a fool, says Quentin---you'll never get away with it. I'm not trying to get away with anything, says Stokes, I have nothing to lose, and very little to gain except the satisfaction of seeing you dead[/spoiler](http://www.dsboards.com/epimgs/1060-2.jpg)--in life, they say a man's is judged by his achievements--my crowning achievement was the restoration of Angelique, and you destroyed it! He closes the doors and holds the gun on Quentin--I live now, Quentin, only to see you die, says Stokes.
Drawing room - Jeremiah comes in, sees Naomi drinking and suggests it's too early for it. She's bored, Naomi informs him, since Joshua says she must be a lady of leisure. With nothing else to do, she drinks.[/spoiler]
Great shot of PT Tim Stokes. Another brilliant characterization from Thayer David.
Thayer's acting and Violet Welles' writing in the Count Petofi storyline in 1897, which I have been revisiting, has me regularly offering all involved a standing ovation. It's mindblowing to me that material this sophisticated was produced for a daytime TV series in 1969. Of course the ratings began to decline, a combination of the storyline getting TOO complicated or so we were told, as well as Frid insisting on taking some substantial time off.
I'm so grateful to whoever saved all these shows.
The visitor is Lawrence Guthrie, from Augusta, investigating the mysterious murders in town--I know it's late, but I'd like to come in. Philip is more than happy to invite him in. Jeb requests his ID. This is Jeb Hawkes, our boarder, introduces Philip. Guthrie takes out his wallet and shows his ID to Jeb, then says, Mr. Todd, I want to ask you the same questions Davenport asked. I don't mind, says Philip--I'll tell you anything I can--we were very upset about Davenport. Why? asks Jeb, when such a man dies in the line of duty, isn't that the way he wants to go?[/spoiler](http://www.dsboards.com/epimgs/0949-2.jpg)Guthrie looks at the grinning Jeb and suggests, that's an odd point of view. Mr. Todd, how long was Paul Stoddard here the night he was murdered? Just a few minutes, responds Philip. Where did he stand? queries Guthrie. About where you're standing now, replies Philip. So he was never near that door? asks Guthrie. No, unless it was during the time my wife Megan came up to get him, says Philip. Jeb watches, his tongue thrust into his right cheek. I don't think so, adds Philip--I think the minute she left the room, he ran out--she said he was in a terribly disturbed state. Philip offers to awaken Megan to speak to Guthrie. Don't bother, says the lawman--I'll talk to her another time. As the man walks around the shop, Jeb and Philip stare at each other. Jeb saunters up to the guy and asks, what were those questions about?--I'd like to know. I'd like to know a few things, too, says Guthrie--may I see your ID? I wasn't here the night of the murders, says Jeb, pulling a piece of paper from his pocket and handing it to Guthrie. Yes, I know--where were you? asks Guthrie. Traveling, replies Jeb, cross-country, on both business and pleasure--I'm a photographer. You must have gotten some interesting pictures, remarks Guthrie--I'd like to see them someday--I'm an amateur photographer myself. He hands Jeb back his ID and says goodnight.
If she tries to destroy Adam, HE will destroy HER, permanently-this is fair warning, says Nicholas. He heads upstairs and she gazes after him, pissed off. Just find Adam, she says to herself, and she'll find a way to outwit Nicholas and destroy Adam--her curse must continue. Cassandra faces Barnabas' portrait--nothing can prevent it from reaching Barnabas-nothing! she vows.[/spoiler]
Trask observes, you weren't at dinner tonight--Charity was upset. I haven't been feeling well, says Tim, give her my apologies. One must not give in to these weaknesses, advises Trask--I trust you feel strong enough to go to Collinwood--Mrs. Trask has come back with unsettling news. Do they want to send the children back? asks Tim eagerly. No, says Trask, Rachel has decided not to return. Tim looks pleased.[/spoiler]
Trask orders Jamison to go to his room and study. Left alone, Trask tells Tim, that boy needs discipline--he shall have it!--you aren't being lenient, are you? No, says Tim. Guard against that tendency, warns Trask--children are animals, they can be taught, but not by talking, but through fear. (Sweet guy--who's really an animal here?!)
Julia says, we know what's in the whiskey. Chris asks what was in the booze that got him sick. Julia and Barn exchange glances; Barnabas tells him to be completely honest. Julia tells him the whiskey was poisoned, which stuns Chris. Who put it there? asks Barnabas. Chris assures them he's considered suicide, but I now have both of you to help me--this isn't the time to do it--I never left the house, nor was anyone else there. Then Chris remembers--David, but he wouldn't have done this--the boy was here for a short while about 6 AM--he stayed right with me the whole time. Barnabas finds this startling. Chris calls David a good kid who's been nice to Amy. Barnabas tells Julia he must do something that might prove most interesting. Julia will stay with Chris.[/spoiler]
We must continue with the seance, insists Trask--we must discover the evil. I'm sorry, says Gerard, it is all over, it's too late![/spoiler]
Roger found out that I knew about the pen, explains Vicki, Carolyn told him--then he came to me and told me his version of what happened that night--that he had been at Lookout Point that night, but had nothing to do with Bill Malloy's death--he said that when he got there, he saw Mr. Malloy, but he was already dead. Did you believe him? asks Patterson. I wanted to believe him, says Vicki, I didn't know what I believed until...things started happening to me--first of all, someone tried to get into my room in the middle of the night. Who? he asks. I don't know, she says, I remember being woken up in the middle of the night hearing footsteps outside in the hall--they stopped outside my door, then my door started to open--I had locked that door! You're positive of that? he asks. Yes I am, she says, I remember locking it--I was terrified. Then whoever it was trying to get into your room must have had a key, says Patterson. I suppose so, she says, locked doors do not open by themselves.![/spoiler]
Are you the same Barnabas those people are talking about? demands Quentin. No, I'm not, replies Barnabas. I've only known you a few hours, points out Quentin--how do I know whether or not you're telling me the truth? If I were that man, why would I lie about it? asks Barnabas--why not just admit it? For a very good reason, says Quentin--the Barnabas they're talking about has lived under a curse. What kind of curse? asks Barnabas. I don't know, says Quentin, but if you are that Barnabas, there's a very good reason for you to be afraid to reveal yourself. I can only reassure you I'm not the man you think I am, says Barnabas--you will simply have to take my word for it. Very well, says Quentin, smiling insincerely, I have to give you the benefit of the doubt, don't I?--you must admit your arrival here now at this time is an amazing coincidence. I can't dispute that, says Barnabas--thank you for understanding.[/spoiler]
I know it sounds strange, says Vicki to Liz, as they and Lt. Riley gaze down at the locket with a photo of David on one side and a lock of hair on the other, but I know that locket was on Mrs. Collins the day she moved into Matthew's cottage. That's impossible, says Liz. You must have seen another locket, says Lt. Riley, this one was found in the rubble of a burned out Phoenix apartment house only last week. Then there must be another one just like that, insists Vicki. There isn't another just like it unless Mr. Collins had a copy made of it, says Liz. What was David's hair doing in this one if she said it was in the locket she was wearing? asks Vicki, upset. You must have misunderstood her, says Liz, that's the only way I can account for it. I guess so, says Vicki, unconvinced.[/spoiler]
Cottage - Chris, having written a letter to Carolyn, slips it into an envelope and leaves it on the mantel above the fireplace. He takes the gun into his hand. Hearing a woman sobbing, he demands, who's in this room? It's crazy Jenny, hair a total mess. You must not do it, she insists. What are you talking about? asks Chris. You must not die while there is hope, she says. Who are you? he demands. I cannot help you, she says in a hoarse whisper, but HE can!--you must find him! Find who? asks Chris.[/spoiler](http://www.dsboards.com/epimgs/0897-3.jpg)Quentin Collins, she says, and disappears. Wait! Chris calls, but all he hears is her voice, repeating over and over, "Quentin Collins!"
He tries to sidestep around her accusation that he paid Vicki a visit the night before, but he defensively claims he only wanted to LOOK at her.[/spoiler](http://www.dsboards.com/epimgs/0300-1.jpg)Bull, says Julia, I know what you are and what you REALLY wanted. He doesn't like taking orders from her, but she says no Vicki if he wants a normal life. She expresses fear that she can't trust him, and he points out they must trust each other; they have no other choice. A really good scene.
Aristede admires himself in a mirror as the pendulum comes closer to unmanning Quentin. "One must look one's best at all important moments," says Aristede, his back is to Quentin, who has managed to free his left hand from the ropes. "As your emissary, I'm sure you want me to be at my best." It's time for me to go for Angelique's answer, says Aristede. The pendulum is now about two inches from target. Aristede jovially asks Quentin, are you a gambling man?--I want to make a wager--"Aww, you don't think it's in the best of taste--you may be right," agrees Aristede--"I'll see you again."[/spoiler]
Adam nods with pleasure, and Nicholas tells him to remember what he must do. It has to remain their secret, and Carolyn can't know; she might not understand.[/spoiler]
It struck me as a bit odd that Jenny appeared to Chris in her mad woman guise -
- when she appeared quite differently when her ghost appeared to Quentin and Magda in 1897.
Maybe because Marie Wallace was playing Megan in the same episode?
David touches her shoulder and asks if she's thinking of letting him do this all alone. Of course not, she assures him. Good, says David, because I'll need your help, Beth--you must talk to Roger, but not until tomorrow night--during the day, we have other responsibilities[/spoiler]
We can't always get everything we want, says Liz. I'm going to try, says Carolyn--please, stop trying to marry me off--OK?--besides, how do you expect me to go away and leave you alone in this beautiful nut house? She gestures to all that's around them. I won't be, says Liz, not anymore. You mean she actually came? asks Carolyn excitedly. A few minutes ago, says Liz--she's a nice girl, you'll like her very much. Carolyn shakes her head and says all she can say for her is that she must be out of her mind.[/spoiler]
He orders her to stop lecturing him, then nervously asks if she still sees the mask of death on him. She nods. He thinks she is making it up to frighten/punish him. I don't say that lightly, she assures him. He claims if she can see that, she knows who will kill him and how. It's gone, she says. So it conveniently disappeared just as I was about to force you to tell me everything you know? he says. You can think that if you want, she retorts. He grabs her arm and demands to know--who will kill me--Barnabas? One minute you make fun of me, the next you're frantic with fear, says Magda--you must believe in my power, she says triumphantly--whoever believes in voodoo must believe in me. He admits, you did see it, I believe you--when and how did it happen? he demands. He grabs and twists her arm to force the information from her. (such a bully!)[/spoiler]
Great shot (and line quote) of Magda today!
I watched an episode a few nights ago where Quentin wanted to summon Angelique, and Magda warned him: "She could be anywhere on Earth ... OR (dramatic pause) IN ... HELLLLL!" It was such a great moment.
They decide to go question Barnabas at the Old House (it's daytime), and only find Julia Hoffman. Skeptical Sam isn't very friendly towards her. She insists she's just trying to maintain her disguise as an historian and is still trying to help Maggie, but hasn't come up with anything yet.[/spoiler](http://www.dsboards.com/epimgs/0308-2.jpg)Sam doesn't believe her
Vicki feels a bit better. Julia advises her to stay in bed, but Vicki feels she must find something, make sense of what happened. It wasn't a dream, says Julia, but Vicki must prove it to herself. Julia promises to help her, and gives her a sedative. Julia has business in town.[/spoiler]
That scene with Sam and Joe encountering Julia at the Old House really is priceless.
I especially love how after Sam storms off and she assures Joe she's doing all she can and he leaves, Julia repeats that she's doing all she can with an absolutely priceless smile -
(http://www.dsboards.com/MUSTquoteimages/ds0308-1.jpg)
- and, of course, the audience is fully aware that she not talking about Maggie but talking about protecting Barnabas...
Nice capture of her in the Robs.
Today's scene reminds me of that old chart-buster with the refrain, "Go ask Julia ... feed your head."
Evans cottage - Tears in her voice, Maggie asks Sam why. Not for myself, he says, but for you and your mother. Those two years before Maggie's mother died, she was sick, they desperately needed money.[/spoiler](http://www.dsboards.com/epimgs/0199-1.jpg)They couldn't live off what he made, couldn't keep alive, he found a way to make easy money, a lot of money. And you took it, says Maggie. Yes, says Sam, and if that makes me weak, I'm weak. The money must have been hard to resist, she comments. Hard, says Sam in an almost angry voice, impossible, it meant so much to all of them.
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.[/spoiler]
Vicki awakens calling, "Peter!" Barnabas is there, demanding to know who Peter is. "Someone I met a long time ago," she says. Someone you cared for, Barn asks. Yes, she responds. Forget him, orders the vampire. I'm trying, she says. You knew I was coming tonight, he reminds her--are you ready to leave now? She moves away from him, upset. No, there's something I have to do first, to get peace--I must know if what happened during the seance really happened or was just a dream.[/spoiler]
That's our Julia.
The "football helmet wig" (I don't recall ever hearing it described that way before) did come out of the mothballs for a Maggie flashback sequence in 1968. I remember being very surprised that they went to the trouble of trying to get the hair and clothes right for that, and for some of the other scenes of Maggie's flashbacks during that period.
The sheriff's going to search Burke's room, Liz tells Vicki--if he should happen to find the missing valve, I assume that would end our discussion. He won't find it, says Vicki. Why are you so sure of that? asks Liz. Because I have it, says Vicki, I found it in David's dresser drawer.[/spoiler](http://www.dsboards.com/epimgs/0026-3.jpg)I don't believe you, says a shocked Liz. You think I wanted to believe it? asks Vicki--but it was there, hidden, I found it when I was looking for my letter. Why did he have it? asks Liz, desperation in her voice. Why did you think Burke Devlin had it? asks Vicki. Liz thinks that over. All that was needed to take the valve from that car was a wrench or a pair of pliers, says Vicki, I remember Mr. Collins saying even a child could do it. Stop it, orders Liz. I'm sorry, says Vicki. Do you know what you're saying? demands Liz--do you want me to believe David would deliberately try to kill or injure his father? All I know is the valve was there and when David saw that I had it, he became frantic, says Vicki. He couldn't have don it, insists Liz. He's a troubled boy, says Vicki gently--you told me that yourself. You must have made a mistake, says Liz desperately, I'm positive that you're wrong. It's in my dresser drawer, says Vicki, would you like to see it. Liz says yes, after a moment's thought. Vicki says she'll get it for her, and after a moment's hesitation, Liz goes up with her, preceding her to the stairs.
You see, says Laura, there really is a logical explanation for all these so-called strange happenings since my arrival. Yes, but the fact remains that I've been ordered to keep you away from David, says Vicki--I've come here to ask you to help me. Why? asks Laura. Because David will be the one who suffers if there is an unpleasant situation, says Vicki. But this whole thing is an unpleasant situation to me, says Laura, and very painful. Will you help me? asks Vicki. Laura evades the question by saying the water must be burning. She suddenly sticks her hand into the fire. Look out, you'll burn yourself! warns Vicki. Laura draws back quickly. Oh, no, she says...well, you're right, of course, I must be more careful.[/spoiler](http://www.dsboards.com/epimgs/0152-2.jpg)She rubs her unharmed hand. Vicki gazes at her oddly.
As for you, Roger rants to Carolyn, I've let you play mistress of this house long enough--the time has come for it to stop. If you'll just let me explain, she begins. There's nothing to explain! says Roger. It has nothing to do with you! she says. Anything that goes on in this house has to do with me, he says. I simply didn't think you'd understand about Dr. Guthrie's work, she says, walking to the piano. But why didn't you try to explain it to me instead of going behind my back? he demands, how do you think your mother would have felt about a thing like this? In my mother's present condition, says Carolyn, I had to make the decision as to what was best for her--there was no other alternative. Why didn't you give the doctors in Boston a chance? he asks. The doctors had a chance! says Carolyn--they could find nothing wrong with her in this world! So you leap to the brilliant conclusion that it must be something apart from this world! accuses Roger. I don't know, says Carolyn, I'm willing to try anything that might help her. And if it harms Laura at the same time, so much the better, says Roger. Laura never entered my mind, says Carolyn. Laura has never been out of your mind, ever since you got it into your head that Burke threw you over because of her, says Roger.[/spoiler]
Angelique is upset Barn had the nerve to leave her. I must have eyes that follow him wherever he goes, to spy on him, she decides.[/spoiler]
Barn says he understands Lang's reluctance to talk of his work, but doesn't feel Lang has concealed anything. Julia has one question--how will it free Barn from the curse? He can't tell her that without revealing the nature of the experiment. An operation? asks Julia. Yes, admits Barn, but the risk is very small. Julia is worried, she doesn't want him to go through with it--the risk is too great. I have the opportunity to be a free man! says Barnabas. Or a dead one, counters Julia, and permanently, this time.[/spoiler](http://www.dsboards.com/epimgs/0476-3.jpg)That might not be so bad, says Barn (oh, that's sad!), and she reminds him that his life has taken a better turn in the past week--you can go on this way indefinitely. No, says Barn, Angelique is here to place the curse on me, and won't be in any hurry--she'll want to watch me suffer, so I must make my move--if I wait any longer, it will be too late. Julia gazes at him with love and concern.
As an aside, this ep contains a continuity error. Not that those are anything new on DS. But the one here is sort of amusing because, when first seen in Ep #645 the skeleton David and Amy find in Quentin's room has a full head of hair, but when seen in Ep #646 it's completely bald.(http://www.dsboards.com/MUSTquoteimages/ds0645-1.jpg)(http://www.dsboards.com/MUSTquoteimages/ds0646-1.jpg)
But maybe we're not supposed to notice that. DC, for one, probably thought everyone in the audience would be too dumb to notice. [snow_rolleyes]
Julia comes in to see Joe; when she spots Chris, she lets loose with a blood-curdling scream, "Tom, no!" She covers her mouth in horror. Joe assures her it's Tom's brother, Chris. Chris apologizes for startling her. Julia heaves a sigh of relief and introduces herself. Ah, you were one of the people I wanted to speak to, says Chris. I don't have the time, says Julia--I must return to Collinwood. He offers to take her there so they can talk on the way. Julia asks Chris to wait outside, but before he goes, Chris tells Joe he wants to speak to him at greater length. After Chris leaves, Julia asks Joe why he didn't tell her Tom had a brother. Joe explains he didn't figure he'd show up. Julia feels he must be very upset he wasn't notified of Tom's death. Joe says he tried, but Chris isn't an easy man to locate.[/spoiler]
Where on the doll should I put the pin? Quentin asks Jamison--above the heart? No, says Jamison, seemingly in a trance now. Quentin suggests another point. No, says Jamison, not there. Silver--it must be with silver, Says Jamison. Quentin takes the cane--with this silver? He presses the wolf's head against the clay doll, which he's placed on the table.[/spoiler]
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.[/spoiler]
Hannah returns with Fred (a.k.a. bullseye) and sternly says, I'll be upstairs if you want me, Alexis. I was coming back to Collin(g)wood, he reminds her. This is better here, she says. He notes, you're cold, and embraces her, kidding her forehead. I feel so much warmer in your arms--look at me, she demands, staring into his eyes. You're so beautiful, he croons, ever since I first saw you... "You've known you would hold me like this," she finishes. I sure hoped so, he says, but is suddenly distracted and looks away from her. No, don't turn your face away, look at me, she orders. What's wrong with me? he wonders, I feel so cold! She draws him back into her embrace, insisting, look at me. He does. This is the way it will be now, she says--you will feel cold, but you must not struggle to look away--you can't now, Fred, you can't. "Kiss me! Kiss me!" She draws his lips to hers, deepening the kiss. He holds her closely, feeling his own life slipping away. His eyes fly open wide; he tries to pull away, but she holds him, draining his life. When she finally lets him go, he falls to the floor, dead. Hannah! calls Angelique--I'm all right now. Hannah examines poor Fred--how cold she is, he mutters.[/spoiler](http://www.dsboards.com/epimgs/1003-4.jpg)Yes, says Angelique, and I am warm again! She touches her cheek. He's dead, says Hannah--it's as if he's been dead for hours! "That's the way it must be now," says Angelique, not at all sorry about it, "this is the way I will live now--and when Quentin comes to join me, he will live this way, too--for eternity!"
She was here! calls Quentin from the stairway-has she gone?-where did she go, I've got to find her. I thought you were resting, says Julia. How did you know she was here? asks Barnabas-did you see her? Quentin looks around eagerly, then grins. Lilac, can't you smell them? he asks. Yes, the scent of lilac, agrees Julia. Whenever she was near, says Quentin, giggling a little, the air was such fragrance. Who? asks Barnabas. Oh, Daphne, says Quentin, as though that explains everything. Who is Daphne? asks Barnabas impatiently. Quentin tilts his head to one side and says, "Yes, who's Daphne?" You mean you don't know? asks Julia. I saw her a few times, says Quentin, so cold, but so beautiful-such sorrow in her eyes-maybe Carolyn knows, he says, getting right in Barnabas' face, sounding like a little boy, huh?--I'd give anything to see her again-will she come back? I don't know, says Barnabas, clearly nonplussed by this. Please let me see her again! begs Quentin-Daphne! --Daphne, why are you so cruel, Daphne? By now, he's talking to the air. Julia goes over and touches his arm-you've got to rest, she urges. Oh, no, I've got to find her, protests Quentin, putting his hand over Julia's. She's gone! says Julia. Gone, yes, they're all gone, says Quentin loonily, they're all gone, she must not come back, here, never, they're all gone... Julia leads the babbling man upstairs.[/spoiler]
Aloud, Tim says, "This must be worth a fortune--if I could just get my hands on it!" He again grabs hold of the cross.[/spoiler]
I've heard about your unusual gifts, says Daphne, and was wondering if you might be able to help me. What do you want me to do? smiles Carrie. I want you to help me make a decision--you see, Bramwell and I are to be married. That's wonderful! cries Carrie, congratulations! Daphne, finally receiving the reaction she wanted, smiles at her enthusiasm and thanks her--the decision concerns the future, and since you can see into the future... I can, but not always at will, says Carrie. Try for me now, asks Daphne, because it's important for me to know wither or not Bramwell and I will be happy. I'll try, says Carrie, but you must understand that whatever I see in the future, I have no control over. I understand, says Daphne.[/spoiler]
I'm sorry, says Carolyn--you were right, I was an idiot. I guess we were all under pressure, says Vicki, smiling, relieved. That doesn't excuse...what I mean is, you were right about something else, too--I was jealous of you. There's no reason to be, Vicki assures her. I know that, says Carolyn, Burke doesn't mean anything to me--I don't know, I just have to grab everything! That's a good way to end up with nothing, opines Vicki. An old maid, says Carolyn, that's what Joe said I'd be--sitting in this house with my mother--remember when I told you all the rest of us must be crazy?--I guess you'd better add me to that list now, too. I will, warns Vicki, if you don't stop feeling so sorry for yourself.[/spoiler]
Sam doesn't believe her, calls her "the master of the evasive answer," and stalks away, leaving Joe to apologize for him.[/spoiler]
In the tower room, Joshua and Bathia wait. He is here! she announces. The door opens and Barnabas, shamefaced, enters. Bathia gazes at him, tight-lipped. Barn asks her what she's going to do to him. Fight she who set the curse, says Bathia, and your mind and soul will be my battlefield. He tries to speak the name of the one who placed his curse and chokes, but she presses her hand to his throat and he gasps out, "Angelique!" He asks her to send his father out, but she insists there must be a witness.[/spoiler]
Eric and Barnabas discuss the qualities needed for a eplacement assistant--good hands and lots of nerve. Barn suggests Willie Loomis, and Lang says he needs him immediately. Barn says Julia can release him from the mental institution, if she will, and Eric says Barn must talk Julia into it, if he wants to be free.[/spoiler]
The young man refuses to get Rachel and bring her back. There is a Mr. Barnabas Collins on the estate who has been helping Rachel, and he knows you are her friend--he will tell you where she is. No! cries Tim.[/spoiler](http://www.dsboards.com/epimgs/0734-2.jpg)Think before you speak, warns Trask. Why must you have Rachel back? asks Tim--isn't it enough you have me, and that I'm going to marry your daughter? Charity has seen fit to love you, points out Trask. Then leave Rachel alone, says Tim. SHE MUST LEARN, insists Trask--remember, you could be in some cell somewhere waiting to take that last walk to the gallows--have you no guilt at all? Don't you remember Simon lying on the floor, dying because of you and Rachel? "I didn't kill him!" yells Tim. Did Rachel? demands Trask--I discovered the two of you stealing the money. Rachel wasn't there, insists Tim, and knew nothing about it. That's what you say, fumes Trask--shall we put the two of you to a test by jury? Cowed, beaten, Tim is silent.
Barnabas enters the store, box in hand--he told them he'd be back soon. He tells Megan he has a present for her. Philip insists they couldn't accept it, and Barnabas asks if he's in the habit of depriving his wife of something she clearly wants. Megan looks hopefully at Philip, saying she does adore it, but it's much too grand a present. Barnabas says there's a legend to it, and she must take it. What's the legend, she asks. That whoever gives it will get what he wants in return, says Barnabas, so she's doing him a favor. Megan thinks he just made up the legend. Please take it, urges Barnabas. Please say yes, Megan begs her hubby, dubbing him the proud one. They'd be delighted to have it, says Philip, and Megan takes it from Barnabas and walks away from them. Philip says they must pay him something, but Barnabas says out of the question--he wouldn't know what to ask, anyway. Megan thanks him, saying she will always treasure it, and will be more selfish than him--she'll never give it away. Barnabas says he hopes she never changes her mind, and the tone of his voice causes Philip's forehead to wrinkle.[/spoiler]
Yaeger's eyes dart back and forth in their sockets as he wonders what to do[/spoiler](http://www.dsboards.com/epimgs/1002-1.jpg)--Quentin pounds on the other side of the door, asking if anything is wrong, and he's scared. Trask, the drawing room keys! demands Quentin, but the butler doesn't respond, so Quentin races to get them himself. Yaeger considers leaving via the window, but tells himself it must appear that I left under ordinary circumstances--but how, I don't dare go through the foyer. He quickly scribbles a note to Quentin--pardon my leaving without first explaining--then realizes--I'm writing in the hand I decided to use for Yaeger. He starts over, swiftly writing, then caps the pen and leaves the note on the desk. He unlocks and opens the doors and is about to leave through the window, but spots and retrieves Cyrus' missing glasses.
An insidious evil has crept its way inside that house, says Trask, I'm not at liberty to divulge its nature. If you're not at liberty to divulge it, asks Randall, annoyed, why mention it at all? Randall! Chastises Flora. It's quite all right, says Trask, I'm quite aware of Randall's unbelieving, but the Almighty will deal with his blindness. The Almighty will have his hands full dealing with yours! Says Randall angrily. Will one of you please tell me what you're talking about? asks Flora. Mr. Trask has somehow convinced himself Collinwood is filled with witches and evil spirits, says Randall. You are suffering from delusions if you think Quentin Collins is what he seems, says Trask, he is not. What has Quentin got to do with it? asks Flora. Trask tells her Quentin is in league with the devil, practicing witchcraft in that house. Randall informs Trask he's had enough of his inflammatory nonsense. Inflammatory, is it? asks Trask, I find that a curious charge, coming from you, so soon after your dear sister's untimely death. Let my sister rest in peace, says Randall. You seem content to merely accept her death, says Trask, but I am not--I believe she was murdered by an act of sorcery and intend to prove it. Gentlemen, please stop shouting! Trills Flora--oh, Lamar, he must be mistaken about Quentin--the very idea of Quentin bewitching anybody is almost amusing! I do not find it amusing, says Trask--you do not believe me now, but you will soon--I have confidence in your judgment and faith--I'm sorry I can't say the same for you, Randall--go on doubting me, if you will--but I want you--those who doubt the word of truth are only a shade less guilty than those who defy it--good night. He leaves.[/spoiler]
Drawing room - Flora, we must do something about Stella, says Julia. Flora agrees. We've been mad not to consider the consequences of locking her in the tower room, says Julia. I'd do it again, admits Flora--Justin was with us such a short time anyway. I know, says Julia--do you know what to do now? I can't think, says Flora, tears in her voice. I can, says Julia, I have $5,000 here--I know it may not be the answer, but I think we should give it to Stella and ask her to leave Collinsport tonight--she places the money in a bag--and not ever mention anything that's happened to anyone. Will she do it? asks Flora. I don't know, says Julia, drawing the strings tightly on the bag, but we must try. We must, agrees Flora. They head to the tower room.[/spoiler]
When you found Bill's body at the foot of the cliff, before you pushed him out to sea again, you said there were no marks on him--you're sure of that? There were no marks on him, none at all, says Matthew. Thank you, says Liz, wandering to the window and opening it. She looks out, her face sad. Matthew asks her if somebody said different. The sheriff, says Liz, he was here again today. I wish they'd never found that body again! says Matthew hotly. Liz looks at him. It's true, they'll never stop hounding you now, he adds. The sheriff is only doing his job, says Liz. Bill Malloy was always real nice to me, says Matthew, but that's why I pushed him back into the water, to keep people from pesterin' ya--is that what they're saying, somebody killed him or something like that? No, says Liz. Then why would you be asking me about marks on his body? asks Matthew. There was an autopsy report, says Liz, he did die of drowning, but there was also evidence of a blow on his dead. Must have happened later, says Matthew, after I pushed him off Widows' Hill, the current must have banged him up against the rocks. That's what the sheriff thought, says Liz. Why are you so worried about it? Matthew asks--poor Mr. Malloy will be buried and everything will go on like it was. I wish it were that simple, says Liz. I don't understand, says Matthew, if the sheriff thinks he died a natural death, wouldn't that be the end of anymore questions?. From the sheriff, possibly, says Liz. Are you sayin' someone else will still be hounding you? asks Matthew. I don't think it will ever stop, she says, ever.[/spoiler]
Now Joshua knows everything--I am compelled to this terrible life, says Barnabas. My son, my son, commiserates Joshua, but Barnabas says he is only aware of his father's pain. Let me escape, pleads Barnabas--I'm an animal, with instincts to kill, no longer your son. Joshua, in agony, reaches out to Barnabas, but Barnabas orders him, "Don't touch me!" Josh, face filled with misery, takes the gun in his hand. I must do this, he says, and adds, "Forgive me, dear son." He shoots Barnabas, who clutches his chest.[/spoiler](http://www.dsboards.com/epimgs/0446-4.jpg)
On the terrace, Cassandra summons Willie, who, doing some dusting at the Old House, is puzzled. "Come to me," chants Cassandra. Willie protests that he doesn't want to go there, but she orders him to hear her voice and obey her-he has no choice. She realizes he has gotten the message, and he appears before her as ordered. He's surprised to see who summoned him, and she tells him to look at her.[/spoiler](http://www.dsboards.com/epimgs/0540-2.jpg)He refuses, but she is insistent, and he has no choice. Hypnotized, he listens raptly to her. "Tell me everything you know about Barnabas Collins," she demands. What happened after the dream? Willie tells her Julia and he found Barnabas after he'd been attacked by the bat, and there were two gashes in his neck and he was bleeding. Julia found no heartbeat. They buried him. Cassandra is shocked to hear this. Willie says Barnabas told Julia he wanted to be buried where nobody could find him, if it happened (this wasn't true; he wanted to be staked). Willie goes on-he dug the grave in the woods, put the coffin in the ground and covered it with dirt. Then he returned to the Old House with Julia, who was going to give him a job at Windcliff. Willie returned to the Old House and there he was, alive. How? asks Cassandra, but Willie has no idea. He escaped the curse was all he told Willie. Cassandra is terribly upset that Willie isn't more forthcoming. He says such things scare him, and he'd rather not know. He's telling the truth, he can't lie to her. She sends him back to Collinwood-he'll forget that she summoned him. He walks off, slowly, and she is in despair. She was so certain he knew something!
Barnabas comments how calm Quentin is behaving over Jamison's disappearance.[/spoiler](http://www.dsboards.com/epimgs/0727-1.jpg)Just the Collins manner, quips Q--we don't panic. Easy when you know where the boy is, says Barn. You said it, I didn't, says Q. Barnabas admits, I would have hidden the boy myself if he'd come to me. Are you expecting a confession? asks Quentin--I don't trust you enough to give you one, and if you keep on, I shall be forced to search the woods, and in my delicate condition, that wouldn't be wise. Barnabas agrees, and is comforted to know Jamison isn't lost and will show up at the appropriate time--I can't believe Cousin Edward would allow his boy to go to that man, and I will learn everything I can about the school. No need, says Q--bread and gruel and a switching for every unlearned lesson. Again we agree, says Barn. We must not make a habit of that, jokes Quentin. Barnabas leaves to go upstairs.
[/spoiler](http://www.dsboards.com/epimgs/0283-3.jpg)Stunned, Vicki spies a woman she is sure is Maggie Evans, but Burke assures her it's her imagination--she's under a strain, after all. They leave.
Sam begins to describe his dream to Vicki, but Stokes barges in and orders Vicki to leave the room at once. (He must be the Dream Police.) Sam protests, but Stokes insists. He physically escorts Vicki out of the room, over Maggie's protests, and tells her to wait outside. He must speak to Sam first, says Stokes, it's for the best. Maggie asked Stokes to help them, and he says he will, she must be patient and trust him. Stokes tells Sam he had to take Vicki out, and he plans to send Vicki home. Sam complains, as does Maggie, but Stokes says if the dream goes one step further, to Vicki, it might prove fatal to the next person who has it. Do your best to refrain from telling the dream, begs Stokes[/spoiler]
Aristede tells Petofi that Barnabas is bringing the hand--you must stay alive until he comes.[/spoiler]
Vicki joins Roger in the drawing room where Roger still searches for his keys. Vicki asks if he could do something for her--actually, for his son--I know you don't approve of my being here, but I really think I can help David. Do you? asks Roger. I think he's beginning to trust me, she says, to believe I want to be his friend. I see, says Roger sarcastically--do you think you can trust him? If you'll give me a chance, she says. Oh, you're referring to the little discussion we had several hours ago, he says. You said you wanted me to leave, she reminds him, because of Burke Devlin. If Devlin creates troubles, it's going to affect everyone in this house, says Roger--you, me, David, my sister--all of us--and I just wanted to spare you the pain--that's the only reason I suggested you leave. But I want to stay, very much, she says. But you're a bright, attractive girl, says Roger, there must be dozens of ways for you to earn a living beside being buried in this house--I suppose the decision is up to you--and my sister, he says, since she hired you.[/spoiler]
Julia and Barn return to the lab. They listen at the door and hear only silence. Barnabas decides to go in, despite Julia's objections, but all they find is the lab, completely wrecked in a short time. Julia says Adam must be strong. Barnabas brandishes a gun and insists Julia stay by the door, just in case. "Do as I say," he demands. Barnabas walks around the lab, searching for Adam, stepping on broken glass. He finds his "son" under a sheet. Julia pulls it back while Barnabas covers her with the gun. Adam, curled in a fetal position, is alive--and sound asleep.[/spoiler](http://www.dsboards.com/epimgs/0492-1.jpg)He really is like a child, muses Julia"he had a tantrum and fell asleep. Barn says he's made it easy for them--they can put him out of his misery now. Julia pushes the gun away. Barnabas compares Adam to an animal, but Julia says he's more like a small child who came into the world, fully grown--we must find a way to communicate with him, she insists, although Barnabas argues against this--Adam is capable of destruction. Julia reminds Barnabas he's a living human being and they are responsible for him. Counters Barnabas, if he murders someone, they will be to blame. Treat him properly and he won't do anything like that, says Julia. Barn fears another rampage, but Julia says Adam is acting out of fear--fear they caused. They must gain his trust. They gave him life, she says, and now that they've done it, they don't have the right to take his life away. (you're right, Julia. Barnabas is so cavalier about life, which is odd, considering what's happened to him)
Charity dreams: Angelique appears at her bedside and says, it's a very special day. Charity rises from bed--it's her wedding day! I'm here to help you get dressed, ready for HIM, says Angelique, showing her a black wedding veil. Charity protests--a wedding veil is supposed to be white! Yes, says Ang, giggling, it must--when you're marrying death.[/spoiler]
[/spoiler](http://www.dsboards.com/epimgs/1186-4.jpg)Daphne gasps as she sees her double join Catherine. I thought you were going to wait downstairs, says Catherine. I cannot tell a lie, confesses Daphne--I followed you up here and waited in the corridor. And listened? demands Catherine. Daphne nods. That's unforgivable, teases Catherine. I know, says Daphne, but you'll forgive me because you would have done the same thing yourself. If I couldn't control my curiosity, perhaps I would have, admits Catherine, smiling. I want to know why you didn't give Morgan an answer just now, says Daphne. You heard what I said, Catherine reminds her. I know, says Daphne, but I didn't believe your reason--Catherine, you're my sister and I love you, and I have to be honest with you, especially when you aren't being honest with yourself--you asked for more time because you're not sure of your love for Morgan. But you heard me tell him...begins Catherine. I know what I heard, says Daphne--and I also know your entire life, you've only loved one man. Catherine turns away--he's been gone five years, she says. I know, says Daphne, but there are rumors he's coming back! I don't want to talk about it, says Catherine. It's something you can't avoid, says Daphne--even when you were children, everyone knew how you felt about each other. When he left Collinwood, he left my life, insists Catherine. No, says Daphne, he'll never leave your life--and you'll never leave his. He belongs to the past, says Catherine, and I must lead my life by what is to be--not by what has been. He would be the last person in the world to accept that, says Daphne. We're discussing my life, not his, Catherine reminds her sister, and I will decide what is to be, not anyone else.
All right, Miss Winters, says Roger, there he is--he says nothing you said is true. It's pointless to lie, Vicki tells David. We've already been through this, says Roger, now tell me--did you find that valve in his room? Of course I did, says Vicki. Exactly where was it? asks Roger. I've already told you--in his dresser drawer under some clothes, says Vicki--I would never have found it if I hadn't been looking for a letter that was taken from me. That's why you're making it up, says David--because I tool your stupid letter! I'm not making up a thing and you know it, says Vicki. It's a lie, he says, everything you said about me is a lie--you just want to get me in trouble--well I don't care what you say, I never had that valve, I never took it--now leave me alone! It's useless to pretend, Vicki tells him, putting her hands on his shoulders--are you trying to tell me I lied? You did, didn't you? says David. How many times did you tell me that you hated your father--that he wanted to send you away and you were going to get even with him? I never meant it, says David. You meant to go to that garage, he says take the valve from the car--maybe you didn't know how serious it could be, but just the same... I didn't take that valve--if you don't believe me, look over here--this is all the stuff that was in my pockets. Then you must have thrown it away, insists Vicki. I DIDN'T! cries David. Excuse me, says Burke, joining them in the room. I thought I asked you to leave, says Roger. I know, says Burke, but I thought I might be able to help--is this what you've been looking for[/spoiler](http://www.dsboards.com/epimgs/0030-5.jpg)--and he holds up the valve for them to see. David looks guilty--and frightened.
Edward follows Judith to Dirk's coffin. "I have come, as you commanded me to," says Judith, her hands on the closed coffin. Edward orders Judith, stand away from the coffin! Calmly, she says, you have no right to be here. "Is he here? asks Edward. "Is this where he hides during the day?" He only summoned me! says Judith Get out my way, orders Edward. Don't hurt him! says Judith. I'll do more than hurt him! vows Edward angrily. I won't let you, says Judith. I'm trying to save you, and all of us! cries Edward. Judith bangs on the top of the coffin, calling, "Dirk, Dirk! He's going to destroy you--you mustn't let him!"--wake up and kill him before he destroys you! Judith passes out and Edward puts her limp body off to the side. He opens the coffin and sees the vampire slumbering inside. It's Dirk! he realizes (wasn't that the name Judith was yelling?)[/spoiler]
It's Dirk! he realizes (wasn't that the name Judith was yelling?), and hastily closes the coffin. It's almost night, mutters Edward, there isn't much time. He finds a large rock on the floor, then searches for something to serve as a stake, heading upstairs. It's dusk. He returns with a stake (did he make it or find it?) and re-opens Dirk's coffin.
Julia is sure Barnabas managed to change history and save Vicki and Peter--they're alive somewhere back in time; Barnabas did as he said he would--but did he trap himself there forever in the process? laments Julia. . .it's time, Willie, say nothing to break my concentration. The clock is chiming 8 PM as Julia calls, "Hear me, Barnabas! Hear me! Come back to us! Try! You must try as we are, Barnabas! Reach out to me as I am reaching to you!"[/spoiler](http://www.dsboards.com/epimgs/0666-2.jpg)
Collinwood - Samantha looks out the window. Trask enters--I don't think I should leave until the constable makes his decision, he says. Where is the constable now? asks Samantha. He just left Gabriel and has gone up to see Quentin, says Trask. What am I going to do when he comes down? she asks. Whatever your conscience dictates, my dear, says Trask. My son...says Samantha. Trask reminds her, it would be worse for him to grow up in this atmosphere of evil--when I think of the heinous practices that have gone on in this house! Please, Lamar, she begs. Painful as it is, says Trask, you must protect your son from his own father. I must, she agrees, I never really believed Quentin's interest in the black arts was anything more than a foolish eccentricity, but I must now--I do! You have just made the most important choice of your life, says Lamar--you have crossed the river of indecision and joined those on the other side that would be saved! Sam smiles proudly.[/spoiler]
What do you mean? asks Liz. I mean I want to live with him permanently, says Laura. You want to take him away from here? asks Liz. Yes, answers Laura. Is that all you want, just to take him with you, asks Roger--you have no other terms? None, Laura says--I have a very good place to live with very good people--I can provide everything for him. I see, says roger. David, of course, says Liz, is in line for a sizable inheritance. Whatever is due him is his alone, Laura assures her, I want nothing, except his love. Are you sure you can get this from him? asks Roger. Laura rises and looks Roger in the face. I have to get it from him, she says--I will--and I desperately need this opportunity. He's not the kind of child that you might imagine, says Roger. He's my child, says Laura, and that's all I need--Roger, do you want him more than I do? What you're saying is, says Roger, you want to take him from me. Well? she asks. Liz watches them. I don't know, says Roger. Liz stands. I think we must all take the time to think this over, she says. I've taken the time, says Laura, I know what I want, I know where I stand and I think I've stated it--and I know what I need. The choice must be David's, says Liz. It has to be, agrees Laura--well, I'll be at the Inn--please call me just as soon as you've talked. I will, of course, says Roger.[/spoiler]
Paul senses someone is outside the door, but tells himself, it's my imagination. Is it? Make sure! Find out who's after you, you must know! He opens the door and spots the mark from the cairn tattooed on his wrist[/spoiler]
Joe moans in his sleep, "Make her want me--she will, I know she will." Barnabas urges him to be quiet. Joe says she doesn't want him, he won't kill himself, live now, that's what he'll do, get back at her, and at Barnabas, if he's the one she wants. Barnabas reminds him he tried to help him, but Joe, seeming delirious, says he just wants Angelique. Barn cautions him to be silent, but Joe says he'll tell everyone everything, about both of them and Angelique- everything! He swears it, but Barnabas tells him he won't. Would you even tell MAGGIE about Angelique? queries Barnabas--tell her what you've become? No, Maggie must never know, says Joe. Barnabas urges him to sleep.[/spoiler]
Playroom - David kneels beside Hallie, calling to her--can you hear me? She awakens, asking what happened, complaining, my arm hurts. You must have bumped it when you fell down, he suggests, and helps her up.[/spoiler]
[pointing-up] Sadly, I missed that one. I bet it was a hoot - especially if it was as over the top as when Joe went crazy on the show. Though to be fair to poor Joe, anyone as straight laced as he would probably go crazy after finding out one cousin is a werewolf and the other was a vampire... [Wolfie] (http://www.dsboards.com/SMF/Smileys/classic/vampsmiley.gif)
Barnabas, insisting that he "must live in a prescribed manner," is off to the races again, all set to turn another young woman (and he knows it's Vicki) into his Josette.[/spoiler]
Alexis, sexy in her sister's nightgown, looks genuinely sad when Quentin realizes his wife has left him. He goes into the drawing room and takes a drink of what looks like strong iced tea. Alexis asks if she's intruding, but he warns he isn't good company. She had no idea Maggie would leave because of her, says Ang--can't everyone see how different she is from her sister? Quentin says the resemblance is a but striking. Only superficial, she assures him, even though twins, they were always so different--she had an inner radiance that was reflected in her every movement--people were enchanted by her. Quentin looks evasive when she says this, like he doesn't believe it, but he says he knows what she means. It wasn't easy being her sister, Alexis assures him, believe me. Quentin says he can imagine, and walks off. Everything was so easy for her, says Alexis, and nothing was easy for me, especially imitating Angelique, and she tried to do that--what woman wouldn't want to be as she was? Quentin has refreshed his drink, almost to the top, and he's downing it quickly. Alexis asks his forgiveness, why didn't he stop her immediately? It's all right, he says. How very deeply you must have loved her, remarks Alexis. Believe me, says Quentin, no one knows more than I how extraordinary he was (said with some sarcasm).[/spoiler]
Barnabas isn't dead, which puzzles her. He doesn't understand himself, says Joshua. She wants to see Barnabas--why did Josette jump if he is alive? Joshua refuses to let her see him, reopening her sorrow. He needs her help. This surprises her. Naomi doesn't know, says Joshua, and it would be cruel to tell her. How has he changed? demands Naomi. He's under a curse, reveals Joshua, and again asks for her help. Joshua tells Natalie Miss Winters isn't the witch, and Natalie guesses Angelique--Peter Bradford told her that, too, so she must accept it.[/spoiler]
And hmmm - in the last line of the Robservations except did Quentin let slip something about Angelique that otherwise had remained a secret? That she was actually a "he"?!
In the woods, Mrs. Johnny Romano has the misfortune to run into Garth Blackwood. What do you want? she asks. You were helping the prisoner, he accuses. You're crazy, she says--I don't know any prisoners. How do you plead to the charge? asks Garth--I pronounce you guilty, since you gave him refuge. Get out of my way, she orders. By the power invested in me, I give you the same punishment the prisoner must endure! He loops the chain around her throat and strangles her as she struggles and screams.[/spoiler]
Carolyn struggles with Adam and breaks free, begging him not to kill her. She sobs, and Adam helplessly approaches her, caressing her blonde tresses gently, then her face. She realizes he doesn't intend her harm, he's trying to comfort her. How strange--at times he's so frightening, but really very gentle, she says. He takes his hands away, and she tells him she doesn't mind. She takes one of his huge hands and places it back on her face. She likes him, she says, wants them to be friends. He repeats, "Friend!", smiling, and Carolyn says she wants them to be friends. Friends protect each other, she says, they must protect each other--he must take her back to Collinwood.[/spoiler](http://www.dsboards.com/epimgs/0503-3.jpg)
You must be tired after your trip, she says. Yes, it was a long and difficult journey, he agrees--like coming from one world to another. (exactly like!) Is life in England so different from what it is here? she asks. Of course not, he says, and yet so much is so different--but Collinwood hasn't changed, I mean from what I've always heard--and I can't tell you how grateful I am for that--how very grateful. He heads for the door, Liz looking after him with a big grin on her face.[/spoiler]
You don't know anything about Bill Malloy's evidence, says Burke, or about Bill Malloy's death? Neither one, says Roger--he certainly would have said something about it to me, and he didn't. And he didn't say anything about it to Sam Evan? Asks Burke. How should I know? asks Roger. Burke grins--I suppose you would rather I dropped this theory that Malloy told Evans something that would exonerate me? You're beating a dead horse--it's over and done with! exclaims Roger. I guess you're right, says Burke--you must imagine that since I've already served my five years, come out of it with my health, made a lot of money since then, I really have no cause for complaint, right? He sips his tea. It could have been worse for you, you know points out Roger, it's such a long time ago, and finished. I served five years, one month, three days and seven hours, recounts Burke, and every minute of that time I thought of what it would be like when I got back here![/spoiler]
Charity and Dirk are about to leave the house when Dirk notes a sudden wind--must be a storm coming up. She touches her neck. We'd better get started, advises Dirk.[/spoiler]
Julia knocks at Maggie's door, but she's gone. Barnabas hopes she didn't go to Collinwood alone. She promised to wait, says Julia. As they're leaving, then run into Maggie, who tells them Amy has disappeared. Barnabas tells Julia to search the third floor--Maggie and I will go to Collinwood--Willie and I searched the West Wing storage room, and found nothing. I'm positive that's the room, insists Maggie--there's a small opening in the base of the wall--someone must have covered it up, and I'm sure that's how David disappeared the first night I went to look for him. Barnabas rushes her out of there.[/spoiler]
"What have you done with my brother?" demands Julia. What an odd question, says Gerard, I told you this morning... I know what you told me this morning, she says, but I know Barnabas too well to believe he could disappear this way[/spoiler](http://www.dsboards.com/epimgs/1172-3.jpg)--he had to be trapped into it--and you two both had reason to stop him from testifying for Quentin. If you are going to make these formal charges, says Gerard, I do hope you've prepared proof! I know I can't prove anything, she says, but we are in this together, and I don't know why you won't admit you're working hand in hand with Trask, Mr. Stiles. On the contrary, says Trask, I still have not convinced Mr. Stiles that Quentin is the heretic I know him to be--his stubborn loyalty to Quentin continues to mystify me--and as far as your brother is concerned, I suspect that the prospect of severe questioning by Charles Dawson was simply too much for him and he ran away...good night. Julia, arms crossed, gives the departing Trask a glance of hatred. I know how upset you are, he says gently, but you mustn't make accusations like that against me--I don't know where Barnabas is, I told you that--you must believe me--why don't you come in and have a drink with me? He tries to take her arm, but she shrugs him off and leaves.
How could he have known what I was going to tell him? asks Liz. What I said earlier must be true, says Roger, he must have heard us talking about her. Roger, says Liz, he was able to describe the coat he had on--it was blue, and he said he saw her sitting over there and she was--he said she kept staring into the fire and I noticed that, too--how could he have known all those things? He probably saw Laura, says Roger. He couldn't have, says Liz, he was sound asleep when she was here. We thought he was asleep, says Roger, he must have sneaked down and taken a peek--that's the only logical explanation I can think of. It's logical, agrees Liz, but it is correct? What are you saying? asks Roger--are you saying the boy has extrasensory perception? I don't know what I think, says Liz, I just know I looked in on him earlier and he was asleep--he was still asleep when Laura left the house--there is no way on earth he could have known how to describe those things.[/spoiler]
Carolyn is explaining to Grant--Julia checked your ID and found you live at... 1115 Elm Street, Portland, Maine, Apt 3A, finishes Julia. Why can't *I* remember? asks Grant, frustrated--I don't know anything about myself--surely someone here must have known me. Your landlady says he had no wife or immediate relatives, says Julia. "She must have told you something," says Grant. Very little, says Julia. Can she be brought here, asks Grant--I must find out--I may be some clinical case to both of you, but... No, objects Carolyn. "Well then tell me!" cries Grant--"Who am I?[/spoiler]
Old House - Julia and Barn hear a knock at the door. It's Stokes, who tells them he went to the place Adam was hiding and learned he left there last night and hasn't been seen since. Barnabas expresses hope that's the last they'll see of him, but Stokes isn't sanguine--his instincts tell him not to hope for the best--he's suspicious of Leona, and if she was the reincarnation of Danielle Roger. . . At this, the doors blow open, the candles blow out and the chandelier sways. The curtains billow, and the storm starts up. The three note that if just the mention of Danielle's name elicits this response, they must make contact! The bookcase opens and a book falls down onto the desk. The disturbance stops and Stokes deems it safe to check out the book. He opens it what turns out to be an account of the French Revolution, written by Philippe Cordier, published in 1798. Stokes says Philippe might want them to contact him, so they should hold a seance and find out.[/spoiler]
Barnabas meets Carolyn outside Collinwood and gleefully reports that Julia is terrified and confused. You're being very cruel, Carolyn says, but Barnabas says she deserves such cruelty because she tried to keep him and Vicki apart. By the time he's finished with Julia, he gloats, she'll end up in a home for the incurably insane. First, however, he must get her notebook and destroy the last piece of evidence.[/spoiler]
Do I frighten you? asks Yaeger--oh, good, because Cyrus Longworth never did. He attempts to retract the sword, but the whole damn thing falls out of the cane, another classic blooper. Yaeger, trying to recover it, asks, what's wrong with you?--you think too much, he accuses, you're just like Cyrus. He picks up cane and blade and holds them together in one hand. Why did you kill Gladstone? asks Sabrina. Because he dared to try to blackmail me! answers Yaeger, and you know what?--it was the perfect murder, just perfect. I don't believe you, says Sabrina--there must be some way for you to turn back to Cyrus, there must! He chuckles cruelly. What a fool I was, she moans, working with you all this time, never suspecting your secret[/spoiler]
Josette's room - Josette and Jeremiah quarrel about the duel. He has no choice, Jeremiah explains--they broke the rules, and now they have to pay the piper--Barnabas has asked for satisfaction, and this must be done. People can't be brought back to life, she wails. Josette is only too aware of how close Barnabas and Jeremiah were before she came into their lives. No, Jeremiah says, he begged her to elope, they shared some kind of madness--but not love. If she still loves Barnabas, she says, she won't even admit that to herself. Jeremiah tells her that if he lives, they'll have a good life together, and if not...well, she'll be free. She gets very upset at this remark and threatens to go to Barnabas herself to stop it. No, because Barnabas will think him a coward for sending his wife. This is payment due, a little sooner than they expected, but. . .Josette accuses her husband of wanting to sacrifice himself, but he says that's what Barnabas wants.[/spoiler]
The thing I like about your work is that it's thorough, says Burke, handing the other man what looks like a legal document--you never ask any questions. That's what I'm paid for, says Blair. Good, says Burke. You must have noticed that the only property that has a mortgage is the big house itself--Collinwood. Carolyn watches. I suppose pride prevented them from putting that up for hock, says Burke. Not at all, says Blair--Mr. Harris said that Mrs. Stoddard inquired about borrowing on it, but it's not an asset--more like a liability. That's interesting, says Burke. Who'd want it? asks Blair--big house like that, unless somebody wanted to turn it into a resort hotel or something--not too long ago, Mrs. Stoddard put in a petition for the property tax to be reduced--the reason for it was that half of the house is shut off and nothing used. The petition was granted, I suppose, asks Burke. Yes it was, Blair tells him. I'm not surprised, says Burke bitterly, that family owns everything there is to own in that town[/spoiler](http://www.dsboards.com/epimgs/0042-2.jpg)--except me.
Laura's bedroom - She lies on the floor, unconscious. Dirk enters, kneels beside her, lifts her into his arms and carries her to the bed. I don't understand, he says. She regains consciousness and says, there's no need to understand, come closer, she orders. I've been speaking foreign words that make no sense, he says. She grabs his lapels. "Come closer to me," she orders. I shouldn't be here, says Dirk. Do you want to leave? She asks. No, he says, I want to stay and help you--I don't know why. Because I'm going to die, she says. You can't, you won't, he promises. You have the power to save me, says Laura. Dirk doesn't believe that. Look deep in your soul, she tells him, you'll know, you must do something, there's very little time. I don't know what to do, he says desperately--I don't know what to doHe draws her into his arms, calls her name in a rough voice. You do have the power, she says--only you can restore me! No! he cries, it's impossible. Look inside yourself, and you will see the flame of eternal life. He holds her closely, promising he will never let her go--I don't want to lose you. Use your power, cries Laura, don't let me die! He clasps her tightly in his arms.
Barnabas gazes into the fire. What is happening to me? He leans back in his chair, and begins to dream, thinking, a child cannot demand that someone be killed, he has no right. Oberon appears before him and says, Barnabas, YOU have no right to disobey. Barnabas looks at Oberon, asking, who are you? I am one of them, says Oberon. It was your presence I felt in the room, says Barn. Yes, says Oberon, I was waiting. What do you want from me? asks Barnabas. Originally, you were not one of us, says Oberon, we made you one of us, because you alone could transport our leader through time--we hoped just the act of making you one of us would be enough, that you would be loyal to us, but you are not. You dared to break our law. How? asks Barn. Enemies must be dealt with, that is the law, answers Oberon. "I will not hurt her!" insists Barnabas--the boy is cruel! He is a true Leviathan, says Oberon, he carries in his mind and heart what we believe--you are just an outsider who must constantly prove yourself, because you will never be above suspicion.[/spoiler]
Barnabas is stalling, insists Adam, the life force is holding him up. Nicholas says he should have come to him when Barn was looking for the life force. Nicholas' mouth drops open when he hears Barnabas' choice for the life force--Maggie Evans. Nicholas assures Adam he knows where the lady lives. Barnabas went to get Maggie, says Adam, but Nicholas waves a finger at him and says, in a ragged voice, "NO. . .no, we must stop them NOW!" Adam gazes with puzzlement at the angry warlock.[/spoiler]
At the Old House, Barnabas stares out at the storm, then walks around the drawing room, ruminating. Where is Sarah is now? Why did she leave me before I could explain? What can I explain? My life? No. That I still love her? I am still her loving brother, I am not to blame for what has happened to me, I didn't choose this. Or would she rather I was dead--would she forgive me then? Barnabas hears a knock at the door, but before opening it, he asks who it is. Carolyn responds, telling him to let her in. He opens the door partway and tells her he isn't up for company tonight; he has much thinking to do. When she warns him there's going to be a seance at Collinwood, he opens the door fully, allowing her in. The others at Collinwood want to speak to Sarah, Carolyn tells him. Not tonight! Says Barnabas, horrified, remembering what transpired this evening between his sister and him. Julia and Mother are determined to go through with it, says Carolyn, concerned--"Do you want to stop it? Must you stop it?" she asks him.[/spoiler]
You're very fond of Mrs. Stoddard, aren't you? she asks. A-yuh, he says, sounding like a Maine man. You've know her for a long time, says Vicki. Another assenting A-yuh from Matthew. And her husband, did you know him? asks Vicki. Why should you be asking about him? Matthew asks. Vicki says she heard the story of how he left her 18 years ago and how she stayed here on the hill ever since--and I wondered what kind of a man he was--if she's been waiting for him all these years, hoping he'll come back...he must have been quite a man. I don't know nothing about him, says Matthew, surly, but I do know Mrs. Stoddard's a great lady--and don't you forget it! I think she's very nice, says Vicki.[/spoiler]
Drawing room - So you understand my reluctance, Liz tells Laura. I've learned to understand a great deal, says Laura, and to tolerate much. There's no doubt that you've undergone a complete personality change, remarks Liz--much for the better--what I can't get out of my mind is the image of the former you. I wish you could erase it, says Laura. I wish I could, says Liz. I'd like to help you if you'd let me, says Laura. From the time you decided to renounce being a mother, says Liz, I've tried to fill in that gap. I can't tell you how very much I appreciate it, says Laura. But I'm afraid I haven't been completely successful, says Liz--David still knows the difference. I'm here now to perform that function, she says--it's the only thing I want from life. I must say I'm very pleased with this new-found attitude, says Roger, but I've gotten very used to having David around, it won't be easy to see him go--but on the other hand, if it's the best thing for him, then I am for it.[/spoiler]
Study - Roger and Liz confront Julia, who will only admit that Sarah is NOT imaginary--she thinks Sarah is a ghost.[/spoiler]
The curse must be ended, insists Joshua, and he'll do it. He can't allow this to go on any longer, anymore people to die--he must destroy him, but he couldn't drive a stake through his heart. There's another way, says Joshua, a silver bullet fired directly into his heart will do the job. He learned this in Boston. He must destroy him, and if Barnabas has any human feeling left, he'll let him do it. He's sent Riggs into town to have a silver candelabra turned into 6 bullets, and he will use those bullets to destroy him. Barnabas asks where Forbes is, and Joshua is about to respond when Ben burst in--Vicki is gone! Search the grounds, orders Joshua. Barn asks if there's a price on Vicki's head, and they both realize Nathan took her to get the money. He must die, insists Barnabas, but Joshua doesn't want that. He's responsible for Naomi's death, says Barnabas, but Joshua doesn't want his son committing anymore destruction.(http://www.dsboards.com/epimgs/0459-2.jpg)This will be his one last act, says Barnabas, "and one which will give me enormous pleasure." Joshua can't stop him--no one can. Barnabas walks out, leaving Joshua absolutely miserable.
Joshua insists the curse must be ended. Barnabas tells him it cannot be ended, but Joshua says it will, and he will do it--I can't allow more people to die--I must destroy you. Joshua can't bring himself to driving a stake through his son's heart, although Barnabas says it's the only way. No, says Joshua, silver bullets fired directly into your heart will destroy you--I learned this in Boston from an ancient volume of witchcraft--destruction will be instantaneous. His voice ragged with unshed tears, Joshua says, "I must destroy you! If you have any human feeling left, you will not try to stop me." I sent Riggs to town with a silver candelabra to have six bullets made--I will fire those bullets into your heart. Barnabas asks of Forbes' whereabouts--he must die! Joshua begs him not to do this. Barnabas doesn't understand why he wants to allow the blackguard to live--if not for him, Naomi would still be alive!--you should hate him as much as I do. Joshua protests it isn't Forbes that concerns him, but Barnabas--my son has caused enough destruction and must not cause more. Barnabas promises this will be his one last act of destruction--and one that will give me enormous pleasure. Joshua begs him not to do it, but Barnabas says he can't stop him, no one can.[/spoiler]
But then again, given that after Vicki returned to the present Barnabas only recalled the events of 1796 as they originally occurred with Phyllis Wick and he greatly feared what had happened when Vicki took Phyllis' place, perhaps they decided to get rid of all references to Vicki so as to remain within that narrative for Barnabas. It might be amazing if so because, as we all know, DS was never one to adhere to continuity. But who knows?
It's dawn. Father and son face each other awkwardly. Barnabas asks for two things--free Ben, he deserves it--he's been loyal to me since all this started--and, help save Miss Winters. I've already tried and failed, says Joshua. Barnabas begs him to send a note to the governor--use your prestige--you might get a stay of execution and a new trial. Joshua promises to fulfill his requests.
Nick warns the spirit it will be consumed by the eternal fires of hell as both Barnabas and Adam announce that they can't breathe. (yet they can talk!) Nicholas succeeds in banishing the spirit; Adam can breathe, as can Barnabas. Adam assures Nick he's all right. He doesn't understand what happened. Barn tells Julie the pain is gone; he has no idea what happened. Nick promises Adam it will never happen again, but won't explain how he stopped it--rest, Nick urges Adam. Julia tells Barnabas Nicholas stopped it--he must have been there when the spirit attacked Adam and used his powers to drive away the spirit.[/spoiler]
A dark-haired, exotic woman stands in Collinwood's foyer and tells Liz not to tell her anything about the house, not the history nor personal experiences. She doesn't want to know what to expect. This is Madame Findlay, a medium, and she only has her own sensitivities.[/spoiler]
Tim is licking his finger and reading the text. He has four pages left to go. Evan tells him he's done quite enough; he's very impressed with his work. He suggests they "try the card." Yes, says Tim vacantly. They sit at the table. This time, no mistakes, Tim, warns Evan, when the real time comes, all must go without error.[/spoiler]
Antique shop - David tells Jeb--I came because I had to talk to you about something--Maggie Evans is missing, and no one knows where she is. Too bad, remarks Jeb. Do you know where she is? asks David. No, says Jeb. Good, says David, because Maggie isn't the only reason I came--I must speak to you about something else--warn you--Barnabas was speaking to me about my accident, and thinks it shows you're headstrong--a weakness--Barnabas suggested the book might explain any other weakness you might have--he told me to look in it, and tell him--I didn't tell Barnabas what I'd found, I came here to tell you--it said for the leader of the Leviathans, there is only one enemy to be feared above all others, and must be protected from--the wolf that walks like a man.[/spoiler](http://www.dsboards.com/epimgs/0942-4.jpg)This revelation makes Jeb's voice tremble--forget that, he says, there can't be a wolf within a million miles of here, there can't be! I didn't understand what it meant, says David, I just wanted to warn you.
Barnabas exits the house and stands outside, lamenting, "The lust...the lust!" He closes his eyes as if in pain. "I must find someone to make me stop thinking of Maggie--I must find someone tonight!"[/spoiler]
Hearing Hallie's voice suddenly forced, too happy, Carolyn asks, is everything all right? I have trouble sleeping sometimes, the girl admits. So did I, says Carolyn. I really have to stop thinking about the accident, says Hallie. Yes, agrees Carolyn, you must remember your mother and father when they were alive, when you were happy together-I know, I've lost someone I loved very much, too.[/spoiler]
You always fall back on the occult, says Samantha. I thought I had reached you, he insists, that you knew--I wanted to believe that so very much[/spoiler](http://www.dsboards.com/epimgs/1121-1.jpg)--oh, what are we doing, standing here talking like this? What else can we do now? she asks. There's so much you've got to tell me, says Quentin. So very much, she agrees. Are you ready to talk about us? he asks. Are you? she counters. He looks guilty, then asks, "How's Father?" She asks him what she's going to do--tell her! You tell me, he says, because you're the one who's going to have to make the decision. She looks at him, uncertain.
I have to decide? she asks. You married Gerard, points out Quentin, you must have a feeling for him. But that doesn't mean I don't have a feeling for you, she says. I know that, he says softly.
Kendrick asks her to look at him, and she does. I want you to answer me something honestly, he says--is Gabriel in the house or near the house, I must know. He isn't, says Melanie. Where can he be? wonders Kendrick, frustrated, smacking his fist into his other hand--I've gone this far, I've got to find out--for Stella's sake!--he killed my sister and he must pay for it! He didn't kill her! says Melanie. What are you saying? asks Kendrick He didn't, she says, I just know it. Kendrick pulls her around to face him, demanding, "If Gabriel didn't do it, then who did?" I don't know, says Melanie, growing upset, but someone else, not Gabriel! Kendrick stares at her.[/spoiler]
Blue Whale - How long can we go on telling lies? Sam asks Roger--they are now standing by the window--how long can we continue building a wall with bricks that have no substance? Those bricks will be real as long as we say they are, says Roger. It won't work, insists Sam, What would you prefer? Asks Roger--telling the sheriff that Malloy called that meeting to clear Burke's name manslaughter conviction--that you had information that would prove me guilty of that crime? But to pile lie upon lie, says Sam, can't you see--it build up like an inverted pyramid that sooner of later must topple of its own weight! Not if we stand together, points out Roger as they both sit down at the table--I'd better point out something to you--if Malloy had shown up at that meeting and proved his accusation, you wouldn't be sitting here today--you'd be in prison, awaiting trial, as an accessory after the fact--you know that, don't you? Yes, says Sam, rubbing his beard.[/spoiler]
At the Old House, Joshua impatiently checks his pocketwatch, then paces a few steps. He looks out the window. Natalie knocks at the door and he lets her in. He thanks her for meeting him. He sent her a note, which has made her curious. He gave great thought to where they could meet, which she calls flattering. This is difficult for him, he admits. She tells him she hoped never to enter the house again. Josette's portrait is gone, shocking her. He says Barnabas hung it in Josette's room. It was there the night he died, she reminds him, he must be mistaken. Joshua agrees, the portrait was there, and Barnabas DID move it. He tells her Barnabas isn't dead, which puzzles her. He doesn't understand himself, says Joshua.[/spoiler]
In the mausoleum, Willie ponders Maggie sleeping on the cold floor, and wonders, how can he keep watching her all the time? How will he know if it's safe to let her go? Where will he get food? He can't go to the Old House. . .into town. He kneels and is about to touch Maggie, but stops. He opens the step the contains the hidden door release and leaves the secret room. Willie creeps to the wrought iron gate. Maggie stirs, sees the still-open door, and quietly slips out. Willie returns to the secret room and sees she is gone. "Maggie!" he cries, looking around. Maggie crouches behind Sarah's coffin, out of Willie's view. He returns to the secret room, calling her. She leaves her hiding place and rushes for the door. Willie spots her, grabs her, and they struggle. She begs him to let her go, and he tells her he's doing this for her own good. She tells him he's crazy, making up a story about Barnabas trying to hurt her. Willie protests he's more sane than he's ever been[/spoiler]
they are interrupted by a knock at the door. I know who my visitors are, says Laura, I've been expecting them--they must be very anxious over the state of my health--sit down and be calm. She lets in Quentin and Barnabas, calling this "a pleasant surprise." Q humorously observes Dirk and asks if they've come at a bad time. Not at all, she assures him--Dirk was helping me rearrange some furniture, and I invited him for a drink. Rearranging furniture all evening? asks Q. Yup, says Laura--that seems to surprise you.[/spoiler]
The Rumson mansion, Little Windward Island - Sky is on the phone, ordering a plane to be here at 7 sharp--and have a helicopter waiting to take us into the city--Mrs. Rumson isn't going with me to Washington, he says, unfortunately, so cancel all appointments next weekend, we're coming back here...no arguments!--do it! commands Sky. Julia is waiting until he finishes this phone call (luxurious living room!) I'm sorry for keeping you waiting, says Sky. It kind of you to let me intrude, she responds. I don't know how you found us, says Sky, few people do. There was a reason, she says. If it's business, says Sky, call my office in the city, any weekday--if you're soliciting for a charity, get in touch with my executive secretary. He jabs a cigar in his mouth. It's about a Tate painting you own, explains Julia. A View From South Wales? he asks. Yes, says Julia, is it here, can I see it? You're something new for me, says Sky--driving 50 miles, hiring a launch just to see a painting. It's most important, she assures him. You must be a true art lover, comments Sky, who leads her to a wall and turns on a light over the painting. She examines it, thinking to herself, it's the right size--but how can I tell if there's anything beneath it?--I must get it to Prof. Osmond.[/spoiler]
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.[/spoiler](http://www.dsboards.com/epimgs/0976-4.jpg)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.
Dave examines Willie, who is doing better every moment. He tells Julia the transfusions worked, and she responds, "That's wonderful, Dave," very unenthusiastically.[/spoiler]
She lights up a cigarette (really freaky to see this in a hospital room!) as Dave explains he doubts Willie was the kidnapper.
It's difficult to believe that anyone with second sight, a talent like that, could get it that quickly, remarks Barnabas. Perhaps I've always had it, she says, and simply didn't realize it. Could you demonstrate this talent for us, asks Barn, or do you p[refer to keep it a secret? It's no secret, she says. Prove it, he challenges. I don't have to! she insists--I can see the past, it's as real to me as this day here. You've always been willing to help us, he says, are you now?--I must know why you want that song--can you see into the past?--if you can, you can help us--where did you learn that song?--in some other time--some other life? I think so, replies Carolyn, smiling, yes. Where? asks Barnabas, think!--in this room, Carolyn? She sees a vision of the turning carousel. "There's a carousel, turning," she describes--"toys, so many toys..." She stops.[/spoiler](http://www.dsboards.com/epimgs/1095-3.jpg)Go on, says Barnabas--you were in the playroom Julia and I saw in 1998 (?) the playroom that doesn't exist in this house now. Then how could I have been there? she asks. Because you found it, says Julia, you must take us there. You're mad! she accuses, I simply described the room! But a room with a toy carousel, points out Barnabas--you must have seen it. In my mind I saw it, she says. Is that all? he asks--you must be honest. I AM being honest, says Carolyn, near tears, why do you keep after me, I've helped you all I can, why do you keep bothering me like this?--leave me alone! She sits in a chair and cries.
Flora herself, book in hand, red shawl on her arms, enters Collinwood with a cheery, "Hello?!" She runs into the drawing room, smiling, and finds Gabriel, who wishes her good morning. She's startled to see him and gasps, then says she doesn't know what to you--she supposes it's the excitement--a migraine, isn't it typical. He nods. And my horoscope promised me a triumphant day, she complains, sounding rather like a disappointed little girl--and then a migraine, just as I was stepping into my carriage--is he here? she asks, smiling girlishly. Is who here? asks Gabriel sourly. The healer, she says. You give the most improbably names to the most improbable people, says Gabriel, what is that? My new novel, she says, presenting it to him--isn't it GLORIOUS? I don't know, I haven't read it yet, he says, examining it--did you bring it for me? No, not exactly, she says hesitantly, but you must read it, though--it's by far my best work--I do hope the critics notice. A SUMMER'S DEATH, he reads. In three parts, adds Flora, the book, not the death--it's an ironic title--it's a story about love, a love that endures until the lovers die.[/spoiler]
I never dreamed anything like this would happen--we meant no harm. Who are you talking about? asks Morgan. Your mother and I, explains Julia--Stella did not leave Collinwood--your father tried to...he wasn't himself--that monstrous room! Julia please tell me! he insists. Flora and I discovered Justin threatening Stella--if we hadn't gone in there that very minute, he would have killed her--WE saved her!--but we couldn't allow her to stay in this house, not knowing what she knew about your father, and heaven knows what else--so we locked her in the tower. You WHAT? cries Morgan. We didn't mean her harm! exclaims Julia. You must let her out! says Morgan. We can't, says Julia. This is outrageous, he says--have you lost your mind, too?[/spoiler]
Then he didn't admit to tampering with the brakes on his father's car, says Carolyn. I told you, says Liz, he wouldn't speak--a nine year old boy lying on his bed, terrified. But you know now that he was responsible, says Carolyn. Yes I know, admits Liz, sighing. It's all over then, isn't it? asks Carolyn. I don't think so, her mother says, it will go on and on--Carolyn, when you were in town, did you tell anybody why David ran away. No, says Carolyn. No one must know it, no one, cautions Liz. But how do you explain what happened to the car? asks Carolyn. I've already taken care of that, says Liz, I said the brakes failed--it was an accident.[/spoiler]
Barnabas tells Sam and George that he feels responsible for Willie's reprehensible actions and tells Sam to let him know if he or Maggie ever need anything. A deputy knocks at the door--Willie's coming out of the coma!- the scene isn't summarized again for Ep #329. (And it's also worth noting that Vince O'Brien played Sheriff Patterson in Ep #328, whereas Dana Elcar was back for Ep #329.)(http://www.dsboards.com/epimgs/0328-4.jpg)Sheriff Patterson vows to get the truth out of him.
Oh wow, according to the dual slide show, I chose quotes from the same ep (#281) exactly one year apart for this date.
Old House, upstairs bedroom - Angelique is furious when Joshua tells her that, because he fears word of the plague will spread and panic the town, Barnabas is to be buried in a secret place, without a service (yeah, like she really wants a service), and that he is telling everyone his son went to England. She threatens to tell everyone that Barnabas was buried in a secret grave if he doesn't agree to leave her husband with her, she insists, at least until morning, but he nastily informs her she has no rights or protection and what he says goes! Joshua walks out. Angelique, clearly frightened, summons Ben--she needs him immediately![/spoiler]
Nicholas says it's better to be completely free of Joe--now she can get back to making decisions she avoided making before. She agrees with a wan smile. She asks him to take her to see Barnabas, now, but Nick says he's in no condition to receive visitors. She feels responsible; she could have warned Barnabas. Nick asks how she could possibly have taken Joe seriously--don't you think a quiet evening at home would be better? I must see Barnabas, she says. I am yours to command, says Nicholas.[/spoiler]
Barnabas calls for Amen Ra to let the way be open for her. Charity feels something happening becomes upset. A ghostly Laura look-alike dressed in 18th century clothing appears and accuses Barnabas of disturbing her. Who are you? he asks. Laura Stockbridge Collins, she replies. Are you the same as the woman who lives here now? asks Barn. I am Laura Stockbridge Collins, she informs him. Why have you returned to Collinwood? he asks. "The children shall be mine," says the woman. This causes Charity to scream "NO!" and race from the house. Why must you have the children? asks Barnabas. Quentin bursts in, sees the apparition, and stops short. "Oh, no! Oh my God!" he cries. The ghost lets loose with a scream and disappears.[/spoiler]
Everyone tells the revived Vicki what happened, that Josette spoke through her again--and she was going to tell who was chasing Josette! Barnabas insists that person is moldering in a grave after 200 years, so cut it out. They speculate--last time Josette spoke through Vicki, she was warning of danger to David. Was she giving them another warning? Who was in danger this time? Could it have had something to do with Maggie's killer? Barnabas, rattled, points out that Maggie's kidnapper/killer had nothing to do with the Collins family (yeah, right). Vicki says she wants to get some fresh air[/spoiler]
Trask, free of the wall, demands to know who disturbs his rest. Nicholas tells him he's disturbed his plan and one bad turn deserves another. You will obey me, insists Nick, as there is no rest for the wicked. Nicholas laughs at him when he calls himself a man of God, and says, in his time, he was the greatest of fools, a bigot, fraud, intolerant, cruel and unjust-a man after Nick's own heart. Trask calls Nick the devil himself, come to tempt him, or at least in league with him, but he WONT be tempted! Nick says he has no choice.[/spoiler](http://www.dsboards.com/epimgs/0523-1.jpg)
Rachel explains she works for the Collins now.[/spoiler](http://www.dsboards.com/epimgs/0727-2.jpg)Charity asks, "Do they KNOW about you?" Rachel looks scared. Charity says, your face has answered that one for you--servants must be very hard to find. "I'm the governess," says Rachel defensively. There is some justice, comments Charity--if my father were given to amusement, that would amuse him. "Will you take me to him, or is that someone else's. . .job?" Rachel is horrified to hear the Reverend Trask is here. Didn't you know? asks Charity, they sent for him--something must be done with the children of the house--but then you must know that. Poor Rachel looks ill. Barnabas appears on the landing. "You must be Miss Trask," he says. Yes, she says. Your father was concerned about you, says Barn. Charity asks Barnabas, take me to my father, since Miss Drummond doesn't seem to know where he is. Barnabas, noticing Rachel's distress, takes Charity's bag from her. "Father will so look forward to his reunion with you," says Charity, turning her back on Rachel, who covers her face (and this is noticed by Barnabas). Barnabas and Charity head upstairs. Panicked, Rachel tells herself, I can't just run from the house, not again, if they are here, I must face them, without fear, but how?--how can I do that?
Harry reports Carolyn's answer to Adam, who is thrilled. Was she pleased? asks Adam. Yes, says Harry, and this makes Adam happy. Nicholas must know nothing about this, Adam reminds him. He opens a door and calls to Eve. Harry says he's sure Nicholas wouldn't like what's going to happen, but Adam tells him to just go, he wants to be alone with Eve. Fine with me, says Harry, since you two aren't good company--you fight all the time, or haven't you noticed? Harry shakes his head at Adam before leaving the house. Eve comes out and tells Adam to stop calling her--she isn't his servant. I have marvelous news, says Adam, my surprise is going to happen.[/spoiler]
Roger goes into the drawing room and opens his briefcase on the desk. A large book falls from the piano to the floor. Roger turns and looks at it. He picks it up and opens it. He finds a piece of paper inside, a letter. He looks at it, puzzled. When Carolyn comes in, he tells her it's a letter addressed to his father, Jamison, dated 1887. He must have been a boy, muses Roger. "Dear Jamison, you must return to Collinwood, I need your help. You must intercede with Oscar. Only you can save me." They wonder what it means. It's signed "Quentin." Roger doesn't know the ancestor, who spent most of his time abroad, well. Roger describes how he found the letter in the book, which toppled from the piano. He wasn't anywhere near when it happened. They wonder how it could have fallen. Carolyn says SHE did it--Magda--she wanted them to see the letter.[/spoiler]
Sandor comes to consciousness with two fresh, bloody holes in his throat. He asks Barnabas what happened--who are you? Barnabas, a drop of blood in one corner of his mouth, tells Sandor he has no time for his questions--but you must answer some of mine--who are you? and Sandor tells him--I live at the Old House--and the year is 1897. I wanted to find Quentin, mutters Barnabas, but not. . .not (by becoming a vampire again are the unspoken words). Quentin just came home, Sandor reveals, tonight--he shipped out on a boat about a year ago, but I don't know where he went. I didn't want it this way, laments Barnabas, how can I help David if I'm back in another time--how?[/spoiler]
Have you ever been to Montevideo? asks Devlin. The furthest I've ever been is Boston, says Joe. There's a bar there, says Burke--crummy joint, butts all over the place, glasses look like they haven't been washed in years--would you believe it, in that filthy hole is where I started to make it big--and do you know why?--a character came over to my table, sat down, made me a proposition, and I didn't think for a minute--I snapped at it, and was on my way. That's you, not me, says Joe. All I'm asking, says Burke, is for you to get your boat--marry Carolyn and be a happy man. I intend to do that, but by myself, says Joe. How long do you think it will take you? asks Burke. Joe says he'll manage. You've been hanging around that house for a long time, says Burke--you must have seen and heard a lot--that's all I want to know--anything--important--unimportant. Sorry, says Joe. Don't make a mistake, advises Devlin.[/spoiler]
I do wonder what kind of proposition that guy made Burke at that dive in Montevideo. It would have been quite ironic if the stranger's name had been Strake.
And just what was young Burke posing for at age ten?
Parlor - Julia tells Quentin what happened--if I hadn't walked into the room when I did, she says, Catherine would have been dead, Melanie would have killed her. Did you tell Mother? asks Quentin. Yes, she's as baffled as I am, says Julia. It's obvious violence is inevitable, says Quentin--it must manifest itself through someone, and when they brought Father out of the room, he was the one who had violent streaks--now he's dead--but violence must manifest itself through someone--you know it could probably have happened to any one of us. Do you think it might have happened because of the postponing of the lottery? asks Julia. I don't know, he says.[/spoiler]
Adam tells the professor he's angry at him-you didn't teach me right. Stokes disagrees. Being polite isn't everything, says Adam, and Stokes agrees with this. A man must grab what he wants, says Adam. Stokes replies, "If his hands can hold it, yes." Adam explains that each man has one chance only. True for most men, agrees Stokes. Adam says he's no different, but Stokes hesitates and responds that Adam is different in some ways.[/spoiler]
Paul decides, I must make sense this time--there's a plot against all of us, everyone in this house, and that child upstairs--Maggie gives a start--those two people in the antique shop know, they're part of it, and Barnabas, he's their leader, I think, has come out into the open with me, and I have proof that he's involved. Involved in what? Maggie demands. I feel you can get more out of them than I can, they suspect me, but you can get the evidence I need. I don't understand, says Maggie--what evidence? That the plots exist, says Paul--you can talk to them, find out what they're doing, we've got to stop this before it goes too far--you can talk to the boy, find out how long he intends to stay here, which might be important, then find out what you can about Megan and Philip--and Barnabas, if you see him do anything at all that seems strange, no matter how trivial, come to me, no one else--can you do that?[/spoiler](http://www.dsboards.com/epimgs/0908-2.jpg)Maggie promises she will (looking at him like she thinks he's starkers). No one must know, continues Paul, we must not appear to be friends, so if I seem cold to you, you must trust me.
Mrs. Johnson is carrying the tray of coffee into the foyer and sets it down to answer Guthrie's knock at the door. He closes his umbrella, remarking that another minute and he would have gone under for the third time--where does this weather come from? She offers to help him off with his coat. Where are the others? he asks. They must be upstairs, she tells him, they'll be down in a few minutes. Sorry I'm tracking the place up, he says. Well, she says, floor needs to be scrubbed anyway. I'll just go in here and wait for them, he says, heading into the drawing room. Make yourself at home, she says.[/spoiler]
I didn't remember Mrs. Johnson being a live-in housekeeper. Is she? I guess so. It makes sense knowing how things play out in the near future. If she is though, why didn't she answer the phone? Or the door? Maybe she isn't after all. I don't know why Burke would expect her to be there at 11pm. (I can hardly wait to see her!)- particularly that last part in parentheses. Of course, having her in the slideshow isn't the same as seeing her in an actual ep, but hey, hopefully it helped tide you over, dom. [easter_wink] Unfortunately though, the quote I used for her for the Laura storyline isn't what I'd actually wanted to use at first - I'd wanted to use "I don't know, it must have been yesterday or the day before" from Ep #130 and referring to when Laura arrived back in Collinsport - but she wasn't on screen when she delivered that line, Burke was. [easter_sad]
Do you remember, asks Ben, some time ago, the newspapers told about a series of murders down Bedford way--it was a petrified head mixed up in it somewhere.[/spoiler](http://www.dsboards.com/epimgs/1118-2.jpg)The Bedford Atrocity! says Daniel. How much do you remember about it? asks Ben. I remember several murders, says Daniel--there was a legend about that strange, disembodied head--yes, I read it about it months later in that book Millicent showed me--yes of course, you must ask Millicent what she did with that book. Ben leans down--Miss Millicent is dead, he reminds him. Oh, says Daniel, remembering now, that's right, she's. . .the book must still be there--she always kept everything in that attic storeroom--poor little dear, she never had a happy day in her life---but the book, that's there. He drifts off to sleep.
Nathan was married!--Suki was Nathan's wifeShe bursts into tears. Barnabas MUST defend her, Daniel isn't old enough--why did Barnabas run from her?--even Ben denied seeing him--they must punish Ben for lying to her--and if you have not seen Barnabas, and I have, then someone must find out why.
But there was more, continues Alexis, something else happened while it was dark?--and that's what you saw in the second seance? I began to see it all over again, says Sabrina--Quentin and Angelique in the dark, the noise and shouting, and there was someone else near Angelique. Who? demands Alexis. I don't know, says Sabrina--it was all so dark and confusing. You've GOT to remember, insists Alexis, who did you see near Angelique? I don't know! insists Sabrina. Alexis apologizes--I didn't mean to sound so harsh. That's all right, says Sabrina, I wish I had seen the person, but I didn't. Whoever you saw near Angelique must have murdered her, says Alexis--why haven't you said anything about this before?[/spoiler](http://www.dsboards.com/epimgs/0993-3.jpg)It was all so confusing, says Sabrina evasively, and...please, no more questions. Alexis apologizes--I only want to know for Angelique's sake.
Vicki wonders about the Brazilian jungles, and vows to ask Burke about them when he gets back. She appeals to Barnabas to tell her that Burke is coming back to her, and he wisely does so, bolstering his own future hopes by telling her if it were HIM, nothing would stop him from returning to her. Vicki expresses sorrow that they never set a wedding date. She mentions the West Wing, and Barnabas says it's beautiful and suggests they look at it together,[/spoiler](http://www.dsboards.com/epimgs/0345-4.jpg)but she prefers to wait for Burke to return. She tells him what a good friend he is, and the widows start to wail. Vicki, hopelessly gazing at the sea, says she always thought the legends surrounding Widows' Hill were untrue, but if she believed Burke were dead, she'd take a jump herself. Barnabas interrupts this in mid-sentence, pulling her back from the cliff's edge. "You must never be as foolish as. . ." he begins, and, as the widows wail, promises her that she will be a bride one day very soon. "Very soon," echoes Vicki, as the widows' wails fills the air.
David is still staring at the carousel, which stops turning and playing. He smiles and looks around the room, admiring the portrait on the wall (of Tad and Carrie)? Hallie stands outside the playroom door--I know he's in there, she tells herself--I must not be afraid, I mustn't! She opens the door and launches into an attack--"You promised you'd never come here again!" What are you talking about? he asks, sitting on the rocking horse--why would I say a thing like that?[/spoiler]
Liz enters the room and asks who he's talking to, but Quentin is gone. David claims he was talking to himself. Liz asks if it's about the game he and Amy play. David doesn't know which game, but Liz says it's the one of the phone. David lies about a giant named Lars who lives in a house by the sea--Lars is being held captive by a wicked old witch. Liz is annoyed, feeling David is too old for games involving giants and imaginary people[/spoiler]
Evan takes a glass of something and holds it over Jamison's head, addressing himself and those here with him to the powers of darkness--I call upon the flame to summon you, upon the raven and the viper and all the dark creatures of nature to draw you like a rising mist from out of the darkness of the earth--rise and help us, for there is an enemy in our midst and he must be destroyed! Rise, rise and help us! And we shall repay you with the gift of innocence. Thunder crashes. "No, stop!" yells Jamison. Evan puts a hand on the child's shoulder, ordering him to be quiet and not break the spell.[/spoiler](http://www.dsboards.com/epimgs/0710-4.jpg)"It's going to be here soon--I can feel it!" cries Jamison.
Collinwood - Liz lies asleep in a drawing room chair, moaning, "Ghosts...there are no ghosts here..."[/spoiler](http://www.dsboards.com/epimgs/0010-5.jpg)She opens her eyes and sees David standing there, covered with muck. David, you frightened me so, she says, awakening--I must have fallen asleep. She looks at him. His clothing is a mess, too, covered with dark splotches. You were talking, he says. Was I? she asks--where have you been?--where did you get so dirty? You were talking about ghosts, says David.
Carolyn waits in Adam's room, leafing through a book. The place is still a mess, but looks a little better. She seems very nervous about this meeting, but tells herself not to be. She's glad Adam has found someone. They must not be caught getting into the house. Should she have trusted Harry? She chides herself for acting like a little girl.[/spoiler]
Bruno gazes at the pile of ashes in front of Hannah--what does it mean? he asks. Some spirit is opposed to us, says Hannah, and the truths we want to know. Who, Angelique? he wonders. Soon I might be able to tell you, she says--the cards have often come to my aid in times past-- perhaps now, but I must have complete silence. She arranges the cards on the piano--I ask to be rejoined with the spirits here so I might see with eyes more powerful than my own, and read the truth revealed before me--looks, eyes--and see what no man sees. Quentin quietly enters the cottage. Hannah gasps, "Angelique! Angelique is here--she's here at Collinwood!"[/spoiler](http://www.dsboards.com/epimgs/0992-3.jpg)Quentin hastily retreats before they see him, but he has overheard this last.
Form an unbroken circle of your hands on the table, instructs Julia, but when Barnabas deliberately fails to do as asked, Julia is forced to chastise him. "I'm sorry," he apologizes, not sincerely[/spoiler]
Stokes tells Liz she's trying to reach her control, her guide to the other world. Madame F calls out, "Are you there? Can you tell me the secrets of this house? Are you there? That's not you." Someone else is answering her, says Stokes. Findlay continues, "Who are you? I cannot hear you plainly. Are you in this room? If you are in this room, speak to me more clearly. You are not in this room, but you are in this house, yes!"[/spoiler](http://www.dsboards.com/epimgs/0647-4.jpg)David and Amy exchange scared glances upon hearing this. "I must come to you. I must find you!" Liz calls to Madame F, who begins to toss her head from side to side, declaring, "A battleground--this house is a battleground! Yes, I see that. . .whom are you fighting? Lead me to the room, lead me!" Madame F rises from her chair, but whoever she was speaking to has disappeared. "You must show me!" Stokes asks her if she's all right, and Liz notes she isn't coming out of it.
"On the table," orders Aristede. Quentin lies back, and stares up nervously at the sharp blade above him. Aristede binds Quentin's hands to the table, too. It's wise for you to cooperate, says Aristede--if you hadn't, the Dancing Girl would have finished you. What difference does it make? asks Quentin, you're going to kill me anyway. I never said that, says Aristede--I want you to live. "Then don't do this to me!" cries Quentin. I'm afraid the decision isn't mine, says Aristede. Whose is it? asks Q--if it's the hand, maybe I can help you get it. Aristede apologizes--the plan has been set in motion and we must follow through to the end.[/spoiler](http://www.dsboards.com/epimgs/0795-2.jpg)Tell me the plan, demands Quentin. Aristede explains, your life now depends on someone else, and if that someone loves you, you'll live--if not...well. . .
I'm afraid, says Joe, that Carolyn and I have crossed each other off our Christmas card lists. Maggie grins. Just for the season? she asks. Permanently, he says. Your social-climbing days are over? asks Maggie. He shakes his head--that's not why I was going out with her and you know it. I'm sorry, says Maggie gently.--hey, I won't be able to serve another dinner until I know what happened. It's pretty simple, he says, Carolyn just turned out to be something other than what I thought she was. That's a good reason, says Maggie, how did you finally come to that conclusion? She was in Burke Devlin's hotel room last night, says Joe. Hey, says Maggie, that's enough to blow the horn on anyone[/spoiler](http://www.dsboards.com/epimgs/0123-1.jpg)--how did you know? I was there, too, he says. Talk about convention! laughs Maggie--how did that little combination fall together? (Did she think they were having a threesome?) Oh, says Joe, we were searching for Vicki, and Mrs. Stoddard thought Carolyn might know where she was--I suspected that Carolyn was with Devlin, so I went to the hotel, knocked at his door. You didn't have to say you were the house detective, did you? asks Maggie. I didn't even have to break the door down, he says--I guess they just wanted to make me look silly. Did they? she asks. In spades, he says. How? she asks. I took a swing at Devlin, confesses Joe. Oh, Joe! she says, but she's pleased to hear this. He drinks his coffee. That was silly, she says, did you at least connect? I connected, all right, he says--and he did, too. How many teeth did that cost? she asks. No problem in the dental department, he says, but a couple of lumps up here--and he gestures to his cheek. She laughs--who hit the floor first? she asks. Carolyn got in the middle and kind of broke it up, says Joe, although I must say I'd liked to have given her a chop or two. I told you the town was swinging, she says, and you didn't believe me.
And another surprise Joe quote...[clap]
Stokes knocks at the door and Nicholas lets him in. Stokes is surprised to see Nicholas, a reaction the warlock picks up on. Stokes says he must be more careful not to show a loss of control-it could be dangerous.[/spoiler]
Chris is in a tizzy--I want to speak to Carolyn. You can't speak to her now, says Julia, I have some questions--why did you leave Windcliff? I was going crazy in that padded cell! Complains Chris. You can't be here, says Julia, you know that, you could change any minute without warning. Yes, says Chris bitterly, I no longer have the luxury of waiting for the full moon, but solitary confinement isn't the answer--there must be some other way. I don't want to raise any false hopes, she says, but I have learned about a man named Tate, who might help you, if he's still alive--a slim chance..[/spoiler]
Vicki comes up to David's room, where he is on his bed, putting a string on the back of the painting. You're just in time, he says, I finished. Vicki sits on his bed with him and suggests that before he hang it, he think about it. No, sir, he says, my mother said OK, and I'm going to hang it up. She said OK because she knew how much you wanted it, says Vicki, but it's not making her happy. I don't see why she doesn't like it, complains David, it's a beautiful painting, and looks just like her. She doesn't want you to think of her looking like this! protests Vicki. Why not? he asks, it's a good painting. It's time you started thinking of how to make your mother happy, says Vicki. Oh, he says, how about over here (above his dresser)--he stand on a hassock. You're not listening to me! accuses Vicki. This will look good, he says, hanging it on a nail already in the wall. I suppose it's as good as any, says Vicki, upset--I never should have brought that picture here. There, says David, stepping away to admire it--that's a good spot--I can see it from all around the room. Vicki turns and looks. David straightens it, and asks how it looks. Strange, says Vicki. that's the reason I like it so much, he says, it's different. Somehow, says Vicki, I think it looks like it belongs in this room. You can see it from over here very well, says David--I can sit and watch it, all day long. Laura comes in. I've hung it up, he says, taking her by the hand--doesn't it look cool? Oh, David, she says, I've given it some thought and decided what must be done--mothers aren't always the wonderful creatures children would like them to be--and I'm going to do something you're not going to like. She reaches for the painting. Don't take my painting! cries David, grabbing her arm. David! she says. Don't take it, he begs. But it's very bad for you! she says. "If you take it," he warns, "then I won't talk to you--ever!"[/spoiler]
Daphne awakens and sits up, distressed--I must have had the dream again, she says--but why can't I remember it--oh, God, what's happening to me?[/spoiler]
Naomi drinks in her room. She hides the bottle when Abigail knocks at her door. Her sister in law comes in and begins to blather heatedly, hatefully, on and on about the cat, the devil, and Naomi's drinking. Naomi suggests Abigail must be quite an authority on the devil by this time and SHE drinks as a tonic for her shattered nerves.[/spoiler]
Midnight - Hoffman comes downstairs at Collinwood, locks the front doors, turns out the light. She enters the party-strewn living room and begins cleaning up. Roger comes out from between the drapes, touches her arm and asks, what's the secret? Secret? repeats Hoffman. Something has happened in this house, says Roger, since you returned from your vacation, something has happened to you. Nothing has happened, she says. You can lie to others, but not to me, Hoffman, he says. You're imagining things, she says. No I'm not, he insists[/spoiler](http://www.dsboards.com/epimgs/1025-3.jpg)--something has happened in this house, to you--I don't like secrets, unless I'm included in them--and I will be--I will be! She again says, I don't know what you're talking about. Fear, says Roger, I think--fear! You must excuse me, she says, I have a busy day tomorrow. She leaves.
Old House - Julia triumphantly tells Barnabas, who's been nervously pacing and worrying, that, using hypnosis, she wiped Maggie's memory clean--she doesn't remember him and probably never will. That "probably" unnerves Barnabas, but Julia promises him she will renew the hypnosis as needed--if he cooperates.[/spoiler](http://www.dsboards.com/epimgs/0296-4.jpg)She'll do anything to make this experiment happen, short of taking a life, and Maggie, memory gone, can't hurt him. Julia coolly pushes a cigarette in a holder, then lights it in Barnabas' candelabra. He has no choice but to cooperate, she says, and leaves him, agreeing with her, like she's a queen and he a lowly subject. After she's gone, however, he realizes it's dawn. Maggie Evans is safe for now, he says, but, "Tomorrow night, you must die."
"The day that I become Josette duPres, forget Kitty Soames, something terrible will happen, I know it," says Kitty You can't know it, he says. I know everything Josette knew, she says--there was no picture in London, was there, Barnabas--you did not fall in love with a portrait. No, he admits, I fell in love with a woman. A woman who lived 100 years ago, she reminds him--how can I accept that? "I want you to accept that," he says gently. We focus in close-up on Josette's portrait; the music plays. "Yes," says Kitty, back under the spell, "yes, you are my love--but alive!" Oh, Josette, he murmurs.[/spoiler](http://www.dsboards.com/epimgs/0874-3.jpg)"You've changed--able to live during the day, but alive!" she exults, then reverts back to being Kitty--"The man that I met, the man Kitty Soames met the first night at Collinwood--I met you in the forest and you started all this!" By living! he says. "By the chance that I came here!" she cries. "I would have found you," he counters. Becoming Josette again, she says dreamily, "Yes, yes, you would have found me!" Kitty: "OH, WHAT AM I SAYING, I CAN'T BEAR IT!" She covers her face and tries to flee, but he grabs her, not letting her go. I must leave Collinwood! sobs Kitty, now! That won't stop it, he insists, detaining her--"You'll come back to me!" Please, she begs, but he refuses to release her. He holds her close, his hand on her hair, calming her down. She leans against him, once more Josette. "At last," she says, "I do remember what it was like, being in your arms--I don't care who we are, or what we are, we must be happy, we must." They kiss.
Barnabas finds Willie straightening up the lab and inquires after Julia. Willie evasively says she returned to Collinwood--he doesn't know why. Ā Barnabas thought she'd be working late, at least that is what she said. She must have changed her mind, suggests Willie, she was tired, needed rest, was working too hard. Barnabas can tell Willie is holding back information and demands to know what.[/spoiler](http://www.dsboards.com/epimgs/0566-1.jpg)Willie says nothing, but Barn says he's behaving strangely--why?
Just a minute! says Burke, take it easy, the only reason I didn't tell you he was in my hotel room was because I was afraid you were going to get sore--he's in enough trouble. Roger slugs down his drink and asks Burke how he knew David was in trouble--did he tell you about it? Yes he did, says Burke, I should have been glad about it--because it would get you off my neck, but I felt sorry for the kid. Sorry? asks Roger--why did he come up to see you? Beats me, says Burke. He spent an hour with you, says Roger, if he managed to get into town just to do that, it must have had a darn good reason. Maybe he wanted to see what I looked like, chuckles Burke. All right, Burke! says Roger, annoyed. Why not? asks Burke, you've been blasting off about me for years, haven't you?--ever since that accident, the kid's heard nothing but Burke Devlin around here--so he makes a trip to the zoo to look at the monster--well, he saw him, and let me tell you something else--he didn't think he was such a bad guy! I want you to stay away from David, says Roger.[/spoiler]
Cottage - By the fireplace, of course - I'm glad you came to see me today, Laura tells David, her arm around her son--I've missed you! You have? asks David, smiling up at her--I missed you, too. I'm glad, she says, hugging him--it must be getting close to your dinnertime--you going to have to be getting back, they'll be looking for you. Do I have to? he asks. I don't want you to go, she says, but I think it's best--after all, we don't want anyone to find you here, do we? I guess not, he agrees. Are you sure nobody knows you came here? she asks. Nobody knows, he says, Aunt Elizabeth was busy, and I waited until Miss Winters had gone into town.[/spoiler]
Sam and Barnabas make a deal that Sam will paint Barnabas' portrait for a thousand dollars, a kingly sum in 1967.[/spoiler](http://www.dsboards.com/epimgs/0222-3.jpg)The offer leaves Maggie's and Sam's faces wreathed in smiles; that's probably rent and utilities for six months for them! However, adds Barnabas, Sam must work only during the nights, only at the Old House--and he'd like him to start immediately.
The Countess asks Abigail to leave her alone.[/spoiler]
We see Barnabas' portrait in the foyer, and he's looking at it with a resigned expression. Julia comes down to report she thinks Maggie is relieved the trip is off. Barnabas makes it clear he's leaving, realizing she isn't sympathetic to all of this, he says would be better for her to stay out of it--I'm going to ask Stokes to help me back to the past as he did Peter Bradford. Julia wants to go along; if he disappears, someone must know about it. He agrees to this practical suggestion and tells her to hurry. Vicki has so little time, he frets; if I'm right, she might hang tonight.[/spoiler]
Quentin once again takes over David's mind. By the time the adults arrive downstairs, Quentin is gone and David is racing for the outside doors. Roger pursues his son. Liz asks Stokes why David ran from the house, assuming her nephew must have seen HIM. Roger would insist there's no one there to see, predicts Stokes. Liz wonders why the music has ceased. Our friend has no further need for it, says Stokes--we have to examine all possibilities, but first check to make sure Amy is all right.[/spoiler]
Quentin drinks, smiling. Beth comes in and closes the drawing room doors. He asks her not to look at him so seriously--I've had enough serious--I want to drink some good wine, listen to soft music and forget. His good mood evaporates when Beth tells him Jenny's in the house. Well, sneers Quentin, Judith succeeded where I failed--chalk one up for her, she scores again--"You must be running out of hiding places for my wife," he says sarcastically. Judith didn't bring her back, she escaped, says Beth. That's been happening with frightening regularity, quips Quentin.[/spoiler]
Flashback: Barnabas rises from the altar. Oberon explains--through you and your ability to transcend time, the Leviathans shall live again[/spoiler](http://www.dsboards.com/epimgs/0938-2.jpg)--our race has been threatened by extinction, but it has been written in our book that there shall be a resurgence of our kind--there shall be a new leader, who will marry one of your kind and bring forth a new breed. I don't understand, protests Barnabas--I must go to Josette. No, says Oberon, you shall not see her again until you have served us--you must take our seed with you, plant it, nurture it in another time. I must go to Josette, Barn insists again. You may not! orders Oberon--she shall remain with us until you have served us--do as we command and you will see Josette again, disobey, and not only will Josette die, you shall spend all eternity as a creature of the darkness!--you see, we know all about your terrible secret, everything about you, says Oberon, who refuses to tell Barnabas where they are holding Josette.
Daniel opens the window in his room, looking out at the storm. Alexis enters. She leans in close to him and asks, did you love your mother very much? Yes, he says, and we fought, too, it wasn't all mushy--but you know that. I know so little about you, she says. Don't say that! begs Daniel. You must accept the fact that I am a different person, says Alexis, perhaps I can be some of the things she was to you. I wish you'd just let me think, he says. Call me Alexis and then I'll go, she says. He makes a face and says again, please let me think. She leaves his room, clearly worried.[/spoiler]
Gerard and Daphne lead the children into the same room David and Hallie saw in their dreams. I know, says David. Everything is exactly the same except for the dolls that were sitting at the table, says Hallie. The dolls aren't here, says David, because we don't need them anymore. What do you mean? she asks--what's going to happen to us?--David, answer me! Daphne steps forward, puts an arm around each of the children and seats them in the chairs at the table. Gerard watches approvingly, standing by the door. What's going to happen to us? asks Hallie fearfully. Daphne stands by Gerard. It's too late, replies David woodenly, it's too late, Hallie. Why is it too late? she demands. Gerard, sneering, goes over to David, grabs his hand and holds it. He locks eyes with the boy, then does the same to Hallie. The children now resemble dolls more than they do living human beings. Gerard and Daphne leave the room. David and Hallie, mesmerized, gaze at each other blankly. David, I'm so frightened, she says. You mustn't be frightened, urges David, you mustn't be.[/spoiler]
I tried to convince them the trial was deliberately planned by someone out to destroy you, but it did no good. Did you tell them Gerard was behind the whole thing? asks Quentin. (He finally gets it!) Gerard? repeats Daphne. Yes, says Quentin, does that surprise you?--think about it for a while--in material gains, he has the most to gain if I'm out of the way. No, Gerard said he was for you, I always thought he was, says Daphne. That may have been his most brilliant tactic, explains Barnabas--if Quentin were found guilty, then Gerard stood to win and keep everything--but if Quentin were found innocent, he would still win, because he remained Quentin's friend and stood by him. Daphne paces, taking all this in. He has both sides to play, says Quentin, but believe me, he intends to see this through to the end--but he can't claim a complete victory until they've taken my head! Don't talk that way! begs Daphne, you're not going to die--Barnabas, there must be a chance for an appeal! I urged them to consider this, but I had no success, says Barnabas sadly--unless we find some other solution, I'm afraid, Quentin, that it's all over. Quentin looks as if it already is.[/spoiler]
Barnabas opens the PT room doors and hears Melanie laughing, as she tells Justin, her father, I can tell you feel better. The house is very still, he says, sounding like a stroke victim. The boys have gone into Collinsport, says Melanie, kneeling at his feet, everything is all right, Papa--I would tell you if it weren't. You comfort me, he says haltingly. You mustn't say that, she says-- Morgan and Gabriel wouldn't like it--they are your real sons, and I... You are my daughter, he assures her. I wonder whose daughter I truly am, she says, and what I would have been like if I'd grown up with them--if you had not adopted me. Justin says, if you had not...this house... She rests her head in his lap--whatever has happened, she says, it's been worth it, being here with you. You saved my life, he says. Don't say that, she pleads, rising to her feet, don't--you'll upset yourself, and you mustn't.[/spoiler]
Burke asks Carolyn, "Will the witness answer as directed--where did you have lunch on the after noon in question, and with whom?" Right here, she laughs, with you. Is that what you're going to answer when questioned by your mother? asks Burke--your uncle, Joe Haskell and even Victoria Winters? She nods and says she'll tell the truth--unless he doesn't want her to. Always tell the truth, advises Burke, it's much better in the long run--now, to continue--how was this lunch date arranged?--did the prisoner insist?--did he drag you there against your will?--you'll note of course that I am the prisoner. Oh, she says, well, then, your honor, I must say the prisoner did none of those things--I alone am to blame--I confess and throw myself on the mercy of the court! The court recognizes the sterling qualities of the witness and as a reward, presents her with this sterling silver pen--and he hands her the pen he used to write down their order for the waiter.[/spoiler]
The Robservations references the quote perfectly. But as is quite clear once the excerpt above is read, the quote makes no sense within the scene because everything about the rest of the scene treats things as if Collinwood doesn't have a mortgage. Was the line accidentally delivered wrong but no one bothered to try to correct it? Who knows? It just comes off as weird...)
Why oh why didn't the manufacturer of the pen not pursue a licensing arrangement for it?
And even a run of the mill Bic pen would have been superior to a lot of the stuff that did get merchandised.
She'll do anything to make this experiment happen, short of taking a life, and Maggie, memory gone, can't hurt him. Julia coolly pushes a cigarette in a holder, then lights it in Barnabas' candelabra.[/spoiler]
The white slippers ascend the Old House stairs. Barnabas notes how deadly silent the room is--the clock stopped! The door blows open and Josette, her face covered in a bridal veil, enters. He's pathetically happy to see her, but she doesn't feel the same. He forced her to come, and demands he keep his distance. She assures him she doesn't hate him, she's beyond all that. She feels nothing.[/spoiler]
she thinks Vicki fell asleep. To have the dream again, laments Barnabas. Julia says Cassandra has underestimated Vicki's strength, and Barnabas agrees- and how much consolation is there in that? He's being selfish. What is he roving--accomplishing?-nothing--Vicki is strong, but also being tortured, and he's allowing it. Julia says Vicki doesn't want to tell him the dream, and Barnabas says loving is her nature, not destroying, and he feels he, too, must have something in his nature that will be worthy of what she's doing for him. He can't let it go on-he's going to go to Vicki and let her tell him the dream. Julia protests, asks him to wait longer. It's already been too long, he says. Julia feels Vicki will survive the dream, and reminds Barnabas that if this reaches its conclusion, his fate will be worse than death.[/spoiler]
Quentin dreams. He sees and hears a tambourine shaking. Magda enters his room and asks if he's ready. He tells her to stay away from him. Don't be frightened, she says, this is a simple ceremony. He refuses to come with her, but she says you must--Jenny is waiting for you. He refuses, ordering her out. Magda shakes the tambourine, telling him, you can't resist. No, he says, "I won't go, please don't make me do this, I'm begging you." He goes with her anyway, compelled to, protesting all the way..[/spoiler]
do you understand why I had to do what I did to you? I do, says David solemnly. Good, says Jeb, I'm glad you do, even if Barnabas doesn't[/spoiler](http://www.dsboards.com/epimgs/0937-2.jpg)--the two of us always understand each other. "You were Alexander and Michael, weren't you?" asks David. Jeb grins. Yes, he admits--I call myself Jeb now--and you will always do exactly as I tell you. Yes, agrees David. Good, you're a good boy--you get an A, says Jeb, ruffling David's hair--remember the radio your father picked up in Boston for you? asks Jeb--you gave that to me, when I was Michael (actually, Alexander)--I knew then how close we'd be, when you'd learned what you must, and now you have--so I am going to give you something. Jeb displays his leather watch. That's neat, proclaims David.
Will and Carolyn lead Barnabas into the secret room behind the drawing room bookcase. In your own time, you must have spent plenty of time in here, eh, Mr. Collins? taunts Will--sit down.[/spoiler]
Maggie sits beside Shaw in his two-seater car, heading for Windcliff. You've got to turn around, insists Maggie. It's too late, now, says Shaw--we're going to be at Windcliff soon. No, she protests, I've got to go back to Collinwood--you must take me. You must realize, he says, that what we're doing is going to be for the best for you.[/spoiler](http://www.dsboards.com/epimgs/1108-3.jpg)No, Collinwood is where I belong, she says. We've been driving for an hour and a half now, he says, you haven't said a word and you want to turn back now--why? (How far is Windcliff from Collinwood, it seems to range from a couple of miles to a couple of hundred!) I just realized that if we keep going like this, I'll never see Collinwood again, she says--or any of the people I love.
This isn't when she leaves the show is it?
And today's Must quote, I wonder if the Banker spit all of that out without looking at the teleprompter.
Samantha closes the double doors, then turns and looks at Quentin and Gerard. She tells Quentin he looks tired. Kind of you to notice, he says. I notice everything about you, she says. He rises and says, "Well--have you made up your mind."[/spoiler](http://www.dsboards.com/epimgs/1127-4.jpg)Yes, she says, I know with whom I must spend the rest of my life. The camera pans from Quentin's face to Gerard's.
but I must point out to you that this trust fund you've set up is going to put you in a slight bind, financially. Liz chuckles and asks what does he want her to do--go around and make sure all the lights are out? John laughs, too, and says nothing that serious--but there isn't any loose money lying around, and when you took over Roger's interest in the company, you tied up nearly all your own cash to do it. It had to be done, she says. I'm not criticizing you for it, he assures her, the notes are signed on the best possible terms, and eventually they can be paid off, but I must remind you, they are demand notes, and can be called at anytime. Why should they be called if I keep paying the interest? Liz asks. No reason, unless somebody wants to take over your company, says John, and I don't know why anybody would want to do that. (Uh oh!) I wonder, says Liz. Family institution, says John, I had to tell somebody that the other day when he was making inquiries about it. Who was it? asks Liz--who was making inquiries? I don't know, says John, it was some New York syndicate, I just fought them off. Try to find out, John, says Liz anxiously.[/spoiler]
They go into the drawing room, where Liz tells Willie she'll make it brief and to the point--"Leave my daughter alone!" I didn't do anything to your daughter! says Willie. Then why did she have to threaten you with a gun? Asks Liz. She got nervous, smiles Willie--she's a very nervous girl. You must have done something to make he nervous, says Liz. All I did was touch her, but only to admire her hair, says Willie--nothing wrong with admiring her hair. I'm not going to argue with you, says Liz sternly, I'll tell you what I told Jason--leave my daughter alone or I'll call the police and have you put in jail--do you understand me? I hear you, he says. It's no idle threat, says Liz, I'll go through with it--leave Carolyn alone! She turns and leaves. Jason closes the doors and faces Willie, furious.[/spoiler]
She tells him to get an unbroken spider's web from an oak tree--she's going to make a dress of it. He lasciviously expresses a desire to see her in that spider web dress, but she says it's for the headless clay figure she shows him.[/spoiler]
When Vicki comes into the drawing room, Jeff is standing at an open window, gazing out into the darkness. Vicki asks him why he looked at Joe that way, as if he suddenly disliked him. Jeff gets pissy again--Didn't you hear me say I had a headache?[/spoiler]
Trask kneels in the Collinwood drawing room, asking for His help in finding a "lost lamb." The devil has been with him, intones Trask, raising his hands high, and looked upon him with favor. The devil must be vanquished, the lamb cleansed, let you in your infinite wisdom show him the light and guide him to the safe harbor I can provide for him--I ask not for myself, but for the poor, miserable, misguided youth so in need of your divine guidance. Amen. Barnabas overhears much of this, and suggests, "Perhaps I should have prayed with you." Wiser than searching the woods, says Trask. Barnabas curtly informs him, if I had found him, I wouldn't have delivered Jamison to you!--you can't take Jamison to the school until his father returns.[/spoiler]
I wish there were some other way, says Stokes. Barnabas picks up the wands--there is not, he says. Throw the wands, says Stokes. Barnabas does. I pray this will work, says Stokes--you have no assurance you will arrive in the right time. Barnabas sits before the wands. The 59th hexagram, says Stokes, hexagram of change. I am ready, Professor, says Barnabas. You must visualize a door with the hexagram painted on it, says Stokes--concentrate until the door begins to open. It's opening, says Barnabas, seeing it in his mind. Now, pass through the door--rise and go through that door! instructs Stokes.[/spoiler]
Barnabas insists to Willie that Sarah wouldn't betray him, and wants to go to Sarah's grave to see if she can sense his need for him, and thus appear to him.[/spoiler]
Lang describes how he's been studying, researching and analyzing for years, and has learned a simple secret of bestowing life on inanimate matter. Life out of death? asks Barn, and Lang wonders if he thinks him altogether mad. This creature, imbued with Barnabas' life force, will be born, live as any other man, and Barnabas will have his cherished freedom--in essence, reborn. HOW? asks Barn.[/spoiler](http://www.dsboards.com/epimgs/0476-1.jpg)By infusing his creature with Barn's life force, with a new body and mind. Barn stares at the creature and asks about his present body and mind. Forever dead, says Lang, but you would forever be free of Ang's curse--because you would no longer be Barnabas. This idea stuns Barnabas, giving him hope, but he insists he must know more--like the chance of success. Almost certain, Lang assures him, but admits it's a chance. If it fails, Barnabas would die in his present form--but Lang feels certain of success.
Dirk thinks he killed you, points out Beth. That won't keep him quiet, says Barn. Suppose he talked already? She asks. No, says Barn, you were here guarding me and no one came to the house, so it's unlikely anyone has found out, or they would have done something about me by now--I'm going to deal with Dirk, silence him. Beth asks, is that necessary? Yes, says Barnabas. Beth gets teary and tells Barnabas, take care of yourself--if anything happened to you. . . Quentin would stand alone, finishes Barnabas. Yes, she says--I'm sorry to be thinking about him, when you are in danger, but. . . Barn assures her I'll be fine, but I must deal with Dirk in time, and I'm sure I can. What do you want me to do? she asks. Be calm, he says, don't tell Quentin anything--the less he knows, the safer we will be--Quentin can be dangerous, destroy all of us, warns Barnabas. Beth says he's not usually like that, he's just frightened now (an acceptable reason to hit her)? Barnabas, his face inches from hers, says, you are a soft-hearted girl, and in this world of heartless people, you will be hurt. I used to be, she says, until I stood in this very house and pleaded with Quentin not to kill Jenny--but I'm not anymore--I'm hoping you find Dirk quickly, and do whatever he must to silence him. I will, says Barn, I won't allow Dirk to get in the way of what I must do.[/spoiler]
At Collinwood, Julia examines Lang's journals. Mrs. Johnson comes in and gasps when she sees Julia. She asks if David is there. He isn't. Mrs. Johnson doesn't want to find him, she tells Julia, she's afraid to see him--she's going to her room and stay there. I've had the dream, says Mrs. Johnson--it was so terrifying! Julia doesn't want to hear Mrs. Johnson talk about bats screeching and begs her to stop. Sarah is crying, saying she tried to resist her beckoner, David, but couldn't. Never tell him the dream, Julia orders. Sarah explains that she was forced to do everything in the dream--and she must tell it to David! Julia sits Mrs. Johnson down and tells her they must stop the dream before it's too late. If she doesn't see David, she can't tell him, Julia reminds her.[/spoiler]
Julia lies on the sofa in the Collinwood drawing room. Morgan dabs her forehead with a compress. She awakens and puts her hand to her throbbing forehead. Don't try to sit up, warns Morgan. My head, she moans. He must have given you quite a blow, guesses Morgan. Gabriel! cries Julia in horror. Yes, he locked you in the tower room, he says, I had to find another key to let you out.[/spoiler]
9:10 - Courthouse - Gerard is amazed when Dawson reports that Joanna appeared in court and took the stand--how do you explain this? I told you it was dangerous to use that letter! Dawson reminds him. Are you absolutely sure? asks Gerard. Of course I'm sure, says Dawson. Explain it, demands Gerard. I'm not interested in explaining it, says a furious Dawson, we had it, we had it--that judge was only syllables away from offering a verdict favoring the prosecution, and then she walked in!--we are in very serious trouble at the moment--we need a stronger weapon--I am aware of the dangers involved, but I say we must use the head of Judah Zachary!--are you listening to me? Yes, I heard you, says Gerard, I just need time to think. We don't have any, says Dawson, we have to have something big by 10 tomorrow morning.[/spoiler](http://www.dsboards.com/epimgs/1181-2.jpg)
Do you go to the house regularly? queries Carolyn. You know I can't go there! responds Mrs. Johnson, shocked. Who's getting it ready? asks Carolyn. Ready for what? demands Mrs. Johnson. For when they come back, explains Carolyn.[/spoiler](http://www.dsboards.com/epimgs/1064-1.jpg)For when WHO comes back? asks Mrs. J. Everyone! cries Carolyn--my mother, Quentin, Uncle Roger... Mrs. Johnson grabs her by her shoulders and reminds her, they aren't coming home. Carolyn pulls away. But they are, she says, forcing gaiety into her tone, and when they do, the house must be ready for them. Mrs. Johnson again grabs her by the elbows-- they're not ever coming back! she says. Don't say that! shrieks Carolyn. She calms herself, sits down and glances through the album, adding, "Especially when it isn't true."
Roxanne enters. Why did you kill him? she asks Barnabas, who rises to his feet, delighted to see her. Are you referring to Claude North? he asks--I didn't kill him, Stokes did! I don't believe you, says Roxanne--you killed him and you must die for it! She holds up the dagger at stabbing height. Barnabas recognizes it as the dagger he saw in the secret room--where did you get it? he asks. It was Claude's, and mine, says Roxanne, it belonged to the two of us--it brought us together in a way no two people have been brought together before (so romantic)! He made me take a vow on it--that I would kill anyone who harmed him[/spoiler](http://www.dsboards.com/epimgs/1057-3.jpg)--and I intend to keep that vow. Claude is dead, says Barnabas, and no longer has a hold over you, you are free. I made a promise, she says. He forced you to make it, says Barn, you didn't do it freely--you cannot hold to it any longer. I've GOT to, she insists, raising the dagger
Philip said he was glad the antique shop was gone--well so am I!--it reminded me of him--here there is nothing to remind me of him, it is perfect, and that room will be perfect for you in your higher form--I'll consecrate it immediately. No, you can't, says Jeb, stopping her. But I did before, she protests. The consecration didn't come from you, says Jeb, but from Oberon, and the dream. We can't wait for a dream, says Megan. Can't we? asks Jeb--there is plenty of time. No, you must have your room now, says Megan. I don't want it now, he says, looking into the fire. What did you say? she asks. He repeats it--I don't want my room, that was just fine when I was younger and had to change, but now I'm in a different form, I am me, and I don't see any reason not to remain in this form. She kneels beside him and says, "YOU are what's in that room--Jeb is only what the world sees!"[/spoiler]
Sorry I missed this one!
Charity, growing as weary as Quentin, continues to walk him around, relating tales of her life in "the theater." The manager, if ever a man was going to explode, it was he, only thing what matters to you is that I'm here when I'm supposed to be, Pansy Faye ain't never missed a show in her life." Quentin sinks down on the fireplace seat. Charity warns him, if you drift away, you'll drift back sadly changed--let's sing! I'm not in the mood, he says. Charity insists--the show must go on--that's the only rule there is--so here's a chorus from the new team of Pansy Faye and Quentin Collins! She begins to sing, "I Wanna Dance For You." She claps him on the chest, encouraging him, and he joins in. She holds up his head; they both sing. She has to slap him a bit, wake him up, ordering, "Open your eyes!"[/spoiler]
A nurse at Windcliff warns Chris that his sister is very disturbed and he must be patient (this is probably DS' worst acting job, thank God it was of such short duration). Chris understands. The nurse says she'll send her in.[/spoiler]
Liz begins to moan and twist in her sleep, and she finally dreams: Amy, in night clothes, is singing "Rockabye Baby," in the middle of the woods. Liz approaches her and asks if she came to see "her," too. I heard her voice, telling me to come here, says Amy. Liz isn't sure if she heard the voice, but figures she must have. Liz is nervous and wants to go back, but Amy tells her "she" wants to see them. A woman's giggling voice fills the air, getting louder; Liz is afraid. She sees Cassandra, in her very green coat, come out from behind a tree. Liz calls to Amy, but Cassandra tells her the child can't save her. Liz tells Amy she must return to the house. Cassandra tells Liz Amy can't leave unless she tells her to. "You must know of my powers now, Mrs. Stoddard," taunts Cassandra. Liz retorts, "You have no power over either of us." Cassandra orders Amy to go. The child leaves, to Liz' dismay. We have an account to settle, declares Cassandra. Amy wanders off, to Liz' consternation.[/spoiler]
I will tell you how Barnabas can be destroyed, but you must promise to do something about it. (Isn't she one of Barnabas' victims herself by this time?--Naomi committed suicide because she caught her son feasting on his cousin's throat.) I promise to try, says Millicent. Find a wooden stake and hammer, orders Nathan, and go to the tower room during the day, where he sleeps in a coffin--you must take that stake and drive it through his heart. Millicent stares at him, horrified. She says she thinks she understands and again promises to try.[/spoiler]
]Study, Collinwood - Barnabas tells Liz he doesn't want this seance conducted. She's surprised he feels this way, considering his passion for the past. I respect my ancestors' privacy, says Barnabas. Liz informs him that Julia saw Sarah. I don't think Miss Hoffman is the most stable of women, says Barnabas. (cold!)[/spoiler](http://www.dsboards.com/epimgs/0365-2.jpg)Julia wouldn't lie, objects Liz, and the seance might tell us what we have to deal with, and finds Barnabas' objections to this action shocking. He offers an apology--he thought he was being rational. Roger and Julia join them, and Roger invites Barnabas to the seance. He refuses--I'm a cynic, he says. I was, too, at first, admits Roger. He and Liz leave to find candles for the seance.
Come to me now, before it's too late! calls Laura. David is crying. Mother! he calls. No, David, you'll burn you'll die! yells Vicki. The cabin begins to fall apart, a flaming beam dropping to the floor. Hurry, David, before it's too late, please, calls Laura, hurry, hurry! Mother! cries David. David, don't let me go without you, begs Laura, I don't want to go without you! There are only a few seconds left! I must have you now, David, now. Vicki tells him not to listen to her, he'll burn, come to ME! David, caught between his governess and his mother, looks back and forth between the two women.[/spoiler]
Burke and Joe find the fence Vicki must have climbed over, but there's no sign of her. Nevertheless, Burke calls to Vicki. The wind might be carrying your voice in the opposite direction, says Joe. Yeah, I know, says Burke, she could be someplace out there calling to us and we wouldn't hear her. She must be freezing by now, says Joe, the cold and dampness are getting to me already.[/spoiler]
Edward, who turns and tells Evan, you must talk to Judith, I'm sure she'll agree the will must be read. Evan feels it's more respectful to wait until after the ceremony. We can discuss it with Judith and Carl, says Edward.[/spoiler]
Old House drawing room - Maggie is sobbing when Barnabas comes to the cottage and gives her the news--Joe wouldn't commit suicide, she cries--I can't believe he wanted to die. He did say it, Barnabas tells her. How could I have thought she knew him? laments Maggie--he's changed so much!--still, these things must have been in him before, when they were together, I never realized. "You couldn't," Barnabas says comfortingly. You're right, she says, but someone else might have seen these things and stopped it. Barnabas says perhaps something happened to him, something she couldn't control or help. Everyone has a darker side that only comes to light under certain circumstances, he explains.[/spoiler]
Naomi Collins, wasn't she the woman who was supposed to be buried with all her jewelry? Asks Jason. That's the question HE asked me, says the caretaker, the man who was here last night. What did you tell him? asks Jason. I can't answer anymore questions, says the caretaker. I don't think you have to, says Jason, and everything seems perfectly OK in here, a little damp perhaps, but that can't be helped. Can't you feel anything in the air? Demands the caretaker. I can't even feel the air, says Jason--now tell me, where did this young man go after he left here? I don't know, I didn't see him, says the caretaker. Isn't it possible he wasn't here in the first place? Asks Jason. Oh, but someone was here, the lock was broken, it must have been him, insists the caretaker.[/spoiler]
Collinsport Inn - Carolyn enters through the screen door and joins Burke at his table in the restaurant. I'm here, she says, grinning. So you are, he says, putting down his paper--I was beginning to think you wouldn't show up. I had to get my ring back, didn't I? she asks. Your ring--what ring? He asks. Oh, Burke, she mock-chastises, the ring I left here earlier this morning. Yes, yes, your ring! He says, checking his pockets, where did I put it?--I think I must have lost it, too--unless... he takes her purse and opens it. What are you doing? she asks. I'm looking for a most elusive and important little ring, he says, taking it out of her purse and handing it to her. She makes a face and takes it back--all right, so I had it with me, she pouts--big deal. Good old Uncle Roger, says Burke. I tried, anyway, she says. I knew you would, he says--I've been waiting for you.[/spoiler]
When Carolyn sees Barnabas in the drawing room, he orders her to divert Julia tomorrow evening--he doesn?t care how. Carolyn says she isn't sure she can, but Barnabas insists that he be with Vicki alone. He was tonight, she points out. Yes, but not long enough, he says--I'll do what I must, Barnabas continues-- Vicki must speak with him alone, or she'll never speak again.[/spoiler]
do you know that your sister's at Collinwood? This genuinely surprises Joanna, who says, "Daphne, living at Collinwood...I had no idea! She's been there several months, says Quentin. But she didn't know the Collinses, says Joanna, what made her come there? The fact that you were dead, says Quentin, she thought I did it--she came back to avenge your death. Surely after she met you, says Joanna, she must have realized you couldn't harm anyone. Quentin gazes at her through the bars--that's true, he agrees--things changed after that, quite a bit. I want to see Daphne as soon as possible, says Joanna. Before you do, we must have a long talk, says Quentin. I know, darling, she coos, we have so much talking to do--I'm sure so much happened while I was thought dead. Yes, agrees Quentin, and several things have changed (such as, I'm in love with your little sister).[/spoiler]
The young girl with long blond hair (the spitting image of Carrie from 1995) looks askance at Barnabas and Julia. The latter rises from the chair. Barnabas tells the blond, I don't know how you helped us, but I want to thank you. Helped you? demands the girl, thoroughly confused.[/spoiler](http://www.dsboards.com/epimgs/1071-1.jpg)Don't be afraid of us, says Barn. Who are you-what are you doing here? the girl asks. Her dress isn't the same, Julia points out to Barnabas. That's right, he agrees--she can't be the same girl we saw in the playroom. The blond petulantly says, I'm going to tell Mrs. Stoddard. Wait, says Barnabas, taking her hand, you mustn't be afraid of us, please believe me. WHO ARE YOU? she asks again, shrilly. Finally, Barnabas introduces himself and Julia. I've heard them talk about you, she says.
...
Saturday's quote:
Ep #1096 (1970) - David - 'You MUSTN'T be frightened, Hallie. You MUSTN'T be.'
...
And considering this quote and the one from this past June 12th -(http://www.dsboards.com/MUSTquoteimages/0612ds_0.jpg)
1970: Ep #1081 (1970) - Hallie - 'I MUSTN'T be afraid,
I MUSTN'T!'
- the show definitely wanted to stress that Hallie shouldn't ever be scared. [easter_wink] [easter_cheesy]
Hoffman gazes up at Angelique's painting and says, I thought, when I walked into the house, that "You would be here--I felt it so strongly when I was in Boston, I left. I have returned, that's what I thought, but you've not--but I wasn't just wishing it, I FELT it, I really did! Perhaps I'm back to make things ready for you--as I always did when you were away.[/spoiler](http://www.dsboards.com/epimgs/1007-3.jpg)--that is what I must believe." Behind her, Angelique, who has entered the room and overheard her last few statements--is stunned.
Jeb has dug up Paul's gave; the coffin is out of the ground. Of course Stoddard will be there, insists Megan--you're just being hysterical--you won't even open it, she taunts. He's working against me, wails Jeb. Of course he is, says Megan, because you killed him, and it's your own fault!--Jeb, let's not fight, she begs, this is ridiculous, all of it! We'll see, says Jeb, opening the coffin. He is! exclaims Jeb--he knows! Inside lies Paul Stoddard--grinning, eyes wide open. He's smiling! cries Megan. Staring at me, says Jeb--gloating, he's going to tell her!--I'm going to burn it--we must burn the bodyPaul smiles up at them.
I'm here with Quentin's regrets, says Barnabas--he's left Collinsport. He got away! exults Charity, I'm so glad for him! Left Collinsport? asks Petofi. Yes, he's finally escaped you, says Barnabas, but no matter how angry you are, you can't make this girl pay for it--let her go and deal with me, nothing will be accomplished by killing her. Petofi exhales smoke, chuckles, and agrees--you are right--it is you I must keep--Charity has an excellent chance of surviving the present situation if things go as I expect. Untie Charity, he orders Tate--I've been figuring on using Quentin's body because I know he exists in the future, but now Quentin is gone and I must resign myself to not seeing him until I get to 1969. You don't exist in 1969, protests Barnabas. But I will, exults Petofi--"In your body." Barnabas' mouth drops open--NoThe solution has been under my nose all the time, and I haven't seen it until now, says Petofi, but my eyes aren't what they used to be.
The clock strikes 5:30. Chris looks outside. I must get out of there, he says. Julia comes in and sends Maggie up to Liz. Chris complains to Julia that those sleeping pulls didn't work. He took all 3, and they didn't work. She knows of nothing stronger, but he insists there has to be.[/spoiler]
I am giving you the chance to break off with her before I go to see Maggie, she says. I think you recognize honesty and love, he says, and I can't stop you going to Maggie, but after you finish talking to me, Maggie will come to me, and I will make her forget what you said---without using any powers. He helps her into her coat and bids her good night. Vicki tells him she isn't going to see Maggie yet--if Nicholas truly loves her, he will think about it, and will see it is impossible. After the leaves, he furiously smashes something into the fireplace, saying that it would have been that easy--she could have left and not remembered even coming here! Why didn't he do it? Maggie Evans, he says, makes me human--but Vicki can never be allowed to go to Maggie!--whatever stops her must be arranged so it can never be traced to him, never. But there IS a way. He has depended on his own powers for so long, he forgot--there is another way! He races from the room and down into the basement. He counts the flagstones and begins to pry one of them up with a crowbar.[/spoiler]
How did you return to this time? asks Barn. Ang explains--I must remain in this century now, as punishment for my past mistakes--mistakes I will never make again. He frowns at her, then asks how she found out about him--about his return to this century. Never mind, I found out, and I know WHY you returned, she says--to save your precious Vicki from hanging. Barnabas assumes she's there to stop him. No, she says, I'm here to help you. He doesn't believe her. I have the power to save Vicki, she says. Barnabas wonders why, given that Angelique hates Vicki. She admits--I do hate her, but I will do it if you will make a bargain with me--I must remain in this time forever, and I want you to stay with me--and never make any attempt to return to the future. Why do you want me to stay? He asks. So we can be together, she says. "After all that's happened, you still want me?" he asks. Replies Ang, "I'm your wife. Husbands and wives should be together."[/spoiler]
He has no choice but to cooperate, she says, and leaves him, agreeing with her, like she's a queen and he a lowly subject.[/spoiler]
The scene above is one of my earliest memories of DS, when my sister's friends watched, and I would pass through the living room and catch a glimpse. This one stopped me dead in my tracks.
We have to sit very quietly, she says--put your hands flat on the table--we have to make an unbroken circle of our fingers. Sam does so, David hesitates. What's going to happen next? asks David. If we're lucky, she says, Josette will speak to us, says Vicki. Speak to us? he asks. I hope so, she says, try not to be afraid. I won't be afraid, he says, and adds his hands to theirs. This circle must remain unbroken no matter what, she instructs--clear your minds of everything but Josette--concentrate on Josette Collins--we have to repeat, over and over and over again in our minds, Josette Collins...Josette Collins...Josette Collins. It won't work, insists Sam, not without Dr. Guthrie. Please concentrate! implores Vicki. They do. Josette, says Vicki, we're calling you, Josette, come to us, Josette, come to us, Josette. David begins to moan. David! cries Sam. Leave him alone! orders Vicki--concentrate on Josette. Come to us! calls Vicki, as David continues to moan.[/spoiler]
Look, I want to talk to you for a minute, he says. Under normal circumstances, she says, I'd be delighted to listen to your apology--as it is, I'm willing to forego it. I don't intend to apologize, he says, it wasn't you I belted. What do you want? she asks, I'm not feeling well and I'm very tired. Not feeling well? he asks, what's the matter, can't you handle your liquor? I can handle anything and anyone, she says, furious. I just wanted to tell you you don't have to worry about handling me anymore, he says. Fine! says Carolyn, send me a letter to that effect. I'm sorry to see this has happened to you, says Joe--you used to be a very nice girl. (When?) I'm even nicer now, she says, it must be the company I keep.[/spoiler](http://www.dsboards.com/epimgs/0119-4.jpg)It's impossible talking to you, he complains. Have you finally realized that? she asks, I was trying to be subtle! And she flounces upstairs. (GOOD RIDDANCE, JOE!)
Edward, behaving oddly, lifts a figurine and admires it--I appreciates beautiful things, he says--I worked in a very fine home, the Earl of Hampshire's. Quentin calls his name. Yes, says Edward--the Early of Hampshire's name was Edward. Have you been drinking? Asks Q. The "servant" replies, I never drink during working hours. (Priceless expression on Selby's face.) No, of course you don't, says Q--sit down. Edward seems reluctant, but Quentin assures him it's all right--when I told you there was something wrong with Jamison, you wouldn't listen to me, but now you must. Edward assures "sir", I am listening.[/spoiler]
Barnabas is drawn out of his thoughts by a knock at the door. It's Liz. She runs in and tells Barnabas they have her coffin all ready--it's empty, waiting for her. Barnabas is shocked, and she accuses him of not believing her. "Hide me," she begs, "you must."[/spoiler]
Julia examines Barnabas. His cell structure is really changing, she says, pleased to hear his heartbeat is normal (he has a heartbeat?) While he admits to being skeptical about her experiments, he's now beginning to consider that he might even one day know life as a human being. What would that be like, he wonders. He'd be able to give and accept love, she says (hint, hint?) He WANTS to be happy, he says, and she MUST cure him![/spoiler]
we kept hoping--we all kept hoping as soon as we were old enough to know why w were there--one day, we'd get a letter, a special letter from our real parents. Didn't...most of the children know that their real parents were...no longer living? asks Liz, leaning forward. Of course,, says Vicki, but you can always hope. Liz sighs.[/spoiler](http://www.dsboards.com/epimgs/0066-2.jpg)Yes, she says, you can always hope--she rises from the chair and goes to the window--you must have written a great many letters to yourself. It's like some people keep a diary, says Vicki, like my own personal diary, written to myself. You must have a pretty complete record of everything that's happened to, says Liz. It doesn't take as many letters as you might think, Vicki tells her. But your whole life! says Liz. No, says Vicki, not very much ever happened to me--until I came to Collinwood. Liz looks helpless, guilty--and miserable.
Over and over, David calls to his mother. Vicki enters and says she thought he was resting. I guess I'm not as sleepy as I thought I was, he says. Were you talking to someone? she asks--I thought I heard your voice as I was coming upstairs. No, it wasn't me, he says, you must have heard someone else--can I go out and play? Not now, she says, you've got to go downstairs--your father and Aunt Elizabeth want to talk to you. I don't want to talk to them, he insists. Don't be difficult, she says, they want to see you, now go one, scoot. Do I have to? he asks. Yes, she says. Might as well get it over with, he says. Get what over with? she asks. Never mind, he says, and leaves the room. Vicki closes the window.[/spoiler]
Tell me, says Roger, why are these paintings suddenly so precious. None of your business, says Sam. They must have some value, or you wouldn't want them, insists Roger--tell me, are they valuable? Only to me, says Sam. Roger doubts that. Are you going to give them to me? asks Sam. I might sell them to you, if I can locate them, says Roger. Sam tells Roger he's not going to sell them to him, he's going to GIVE them to him. And what if I don't, asks Roger. I'm going to Burke Devlin, warns Sam. Will HE give them to you? Roger asks. You know what I'm talking about, says Sam.[/spoiler]
Barnabas nervously paces the gazebo, waiting for Josette to show up. He has to warn her about the danger she's in, but can't reveal it's Angelique, or the witch will kill his beloved.[/spoiler]
He grabs the eavesdropping Cassandra. "We have a visitor, Julia!" cries Barnabas triumphantly, holding her tightly imprisoned in his grip. Cassandra, wearing a much nicer wig now, struggles against him--she was just taking a walk. Barnabas demands to know how long she was listening, what she heard, and Julia chastises, "Barnabas!" Cass begs him to let her go, insisting she doesn't know what he's talking about. "You're lying, Angelique!" Barnabas shouts, still clutching her. She orders him to stop calling her that, and he says she won't upset their plans, he'll see to it. "Why do you keep accusing me?" demands Cassandra. "Why do you think I hate you? Julia, why does he? He's mad. Everyone says Roger is, but it's Barnabas who is insane! I'm the only one who knows it--I'm the only one he treats this way!" "YOU KNOW WHY!" thunders Barnabas, but Cassandra cries, "No, I don't!" and pulls herself from his grasp, sobbing. Julia tells him to let her go or make it worse. Barnabas says they're fools to be there, discussing their plans, which Cassandra will ruin if she knows of them. Another reason you must not do it, says Julia, but Barnabas insists they must escalate their plans. Upset, he races off, leaving Julia alone on the terrace, crying, "No, Barnabas, no!"[/spoiler]
Barnabas surveys a headline in the COLLINSPORT STAR--"Mystery Murder." Julia and Barnabas feel responsible for Donna's death--if we hadn't let Chris take Donna with him, could we have stopped it? queries Julia. Barnabas doubts it--wherever Chris and Donna went last night was Donna's fault--she must have delayed him until the moon was up--the werewolf can't help it--he doesn't choose his victims.[/spoiler]
The original Barnabas Collins must have been distraught when Josette died, says Rachel. He never got over the shock of it, and couldn't accept her death, says Barn--he had to believe he'd find her again someday, it was the only way he could go on living.[/spoiler]
You suspect everything I say to you, don't you? demands Paul. Yes, says Liz. That makes it very difficult when I want to be sincere, and I do, about Carolyn--I want to be sincere. I'm waiting, she says. The famed Collins impatience, rants Paul, everything must run according to YOUR timetable! If you say so, she says.[/spoiler]
Caves - Yaeger, surveying the antidote, asks himself, why must I become Longworth again?--go back to that dull, miserable life! That fool, Gladstone, he's making me take this, even in death, he dictates what I do![/spoiler]
Julia and Barnabas return to Collinwood. Barnabas starts to dial the phone--let's hope Shaw is home, he says. Barnabas finds a paper under a box once used to house Petofi's hand and takes it--"Quentin Collins, he reads, born 1808 died 1840--may he rest in peace." He shows the note to Julia--"The death notice of Quentin Collins!" he says. Julia looks at it, concerned.[/spoiler](http://www.dsboards.com/epimgs/1108-1.jpg)Look at how old the death notice is, says Julia--must have been the same one sent to friends in 1840. Gerard has put this here, says Barnabas, slipping the card into his jacket pocket. The carousel music begins to play. I feel Gerard' presence in the house, announces Julia--he's somewhere near.
If you asked me tomorrow I would say it was Quentin that drove Maggie to Windcliff. I don't know why I can't get that out of my head.
Julia returns and he greets her good morning. She says she was taking a walk, she wanted to see the grounds during the day. Any news from your brother? He asks. No, she says, no news. You must be terribly worried about him, says Gerard. Yes, says Julia.[/spoiler]
I could never forget you, he says, the fact is, I've devoted the last three days exclusively to you. Is that what you wanted to talk to me about? she asks. Yes, he says, and I want to ask you again just how your family came to adopt you. I told you everything, she says, upset. I know, he says, but I must know again just to be sure.[/spoiler]
"Uh, oh," he says, causing her to ask him who else he told off. It's not that--he forgot to pay for his drinks. He resolves to stop off on his way home and pay his tab. She asks him to make it a quick stop, and, smiling, he suggests she's worried about him. Counting on her fingers, she humorously reminds him he made speeches to her, her mother, Vicki and Burke--that's enough for one night! He doesn't know, if Devlin's in the bar, he might find a few more things to say to him. Growing serious, she says that if Burke is still there, she would prefer Joe apologize to him. He says, "You must be joking," and she assures him Burke's really a very nice person. Joe tells her for what he said to the others, he's truly sorry, but what he said to Burke Devlin--"I'm delighted." Carolyn eyes him unhappily and teasingly says he's really horrible.[/spoiler]
He should never have gone inside, says the caretaker. Why, what's in there? asks Jason. The dead, asleep and at peace, says the caretaker. Is that all? asks Jason. Evil, says the caretaker, evil hovers there, can't you feel it? No, can't say that I do, replies Jason--nothing inside was disturbed, was it? Yes! says the caretaker. You mean somebody disturbed the coffins? Asks Jason. Nothing that profane, says the caretaker, but the dead were disturbed, I can tell! Do you mind if I go in there? asks Jason. Please, you mustn't! begs the caretaker. Why not? asks Jason. I told you, evil is in there! the caretaker replies. Suppose I just take my chances, grins Jason, entering the tomb.[/spoiler]
And this is the fourth quote from this ep (tying with Eps #2, #212, #365 and #678 for the most quotes so far from a single ep). The first (Caretaker - 'You TELL him he MUST never come here again') was back on June 20th of 2020, the second (Caretaker - 'Oh no, the living MUST LEAVE. They MUST NEVER COME here again') was back on January 3rd, and the third (Caretaker - 'Someone was in here. Something happened here. We MUSTN'T STAY') was back on January 27th. Apparently we love quoting the caretaker from this ep! [easter_wink] [easter_cheesy]
Barnabas, cautiously hopeful, tells Ben he shot Angelique--are you sure she's dead, Ben? Then Angelique, still holding her bloody shoulder, comes in and tells the two disappointed men she isn't dead and isn't going to die. Ben tries to keep her away from Barnabas, but she says she must look at him, and they must keep him alive. If he dies. . .never mind, she says savagely to Ben. She touches Barnabas' face and says she wants him to know how sorry she is. Ben explodes at her--first she puts a curse on the man, now she's sorry! He tried to kill me, says Ang, that's why I set the curse! But now she wants to reverse it..[/spoiler]
Later, Nicholas is playing with the vial of potion in the drawing room. He spots Vicki coming down the stairs with her luggage and asks if she's going on a holiday. In a way, she replies. He tells her she deserves it and insists they have a bon voyage drink. As he mixes the potion in with her sherry, he recommends vacationing in the winter, adding that he's allergic to the cold. (Satan's minion would be!) She answers that she likes winters because they are peaceful (and her birth month, right?) Whatever. He offers a toast, "Cheers!", but before either of them take a sip, there's a knock at the door. It's Jeff, and Vicki says she's all ready to leave. Nicholas protests that she hasn't touched her drink, and invites Jeff to join them. Jeff thanks him but says they don't have the time. Some other time, promises Vicki. Nicholas tells her to have a pleasant trip, and they rush out, leaving him standing alone with the two glasses of sherry.[/spoiler]
I am eager to read about today's quote! I don't remember it and it's a great quote. It would have made a great green series card.
Judith spots a lace glove on the floor. Quentin picks it up despite her warning. It was on Edith's hand in the coffin, says Judith, that was her favorite pair of gloves--it was on her hand, and you know it! Quentin stares at the glove, perturbed.[/spoiler]
Judith tells Quentin she's frightened. He retorts, you were always a scaredy-cat and I hated playing with you. I'm not a child, she says--open the door. They both go into the study. A glove is indeed missing from the old lady's hand.
In the woods, Barnabas finds himself enshrouded in fog. I should be at the road, he says to himself. What is that? He spies a strange stone altar with coiled snakes on the background. Fire burns in two standing torches. I've never seen it before, Barnabas murmurs to himself. He moves closer to the altar, wondering how it's possible--I took this path earlier tonight--this wasn't here. Where am I? What's happened to me--how could I be lost...at Collinwood? I can't be, yet I am. I am! I must get back to the path--where is it?[/spoiler]
Quentin picks up a Tarot card from the table and holds it up, wondering to himself, is it true it can reveal hidden future secrets?--everything that's happening must be leading to something--but what? Does the answer lie here? He sits at the table and shuffles the Tarot deck, then lays out the cards. This is the card that will tell me what I want to know, he tells himself, and flips it over--"The hanging man!" cries Quentin.[/spoiler]
Gabriel runs up a spiral staircase to a parapet on the roof of Collinwood. No, Gabriel, your murders must stop, commands his father's ghost. They've stopped, Gabriel promises. Another lie! accuses Daniel. It's not another lie, I'm finished! cries Gabriel--oh, Father, I know you never loved me, for God's sake, I know that Edith didn't, Quentin didn't--Father! You, Gabriel, you turned this hand cold, says Daniel, holding out a ghostly hand--as my heart has grown cold against you--now you must die, Gabriel, you must die![/spoiler]
This is no place for young people, continues Liz, old and decaying, and smells of death. Carolyn seems to have managed, says Vicki. Do you think so? asks Liz anxiously--do you really think so? she's a wonderful girl, says Vicki. I've been so worried about her, says Liz, and not this Devlin business--I'm a strong woman, but if anything happened to Carolyn, I think I'd die (said with heart-wrenching intensity). I'm sure she'll be just fine, says Vicki. She must, she has to be, insists Liz.[/spoiler]
She'll do anything to make this experiment happen, short of taking a life, and Maggie, memory gone, can't hurt him. Julia coolly pushes a cigarette in a holder, then lights it in Barnabas' candelabra.[/spoiler]
[/spoiler](http://www.dsboards.com/epimgs/0392-1.jpg)Barnabas watches a black-frocked Josette kneel at Jeremiah's grave, cross herself, and place down flowers. How can he tell her about his engagement to her maid? He decides it might actually help matters if he does--perhaps telling her of his future plans will ease her remorse. Josette gazes up sadly at him and they exchange chastened greetings. He asks if she's offended that he's there, and she says he has as much right to be there as she does. He tells her not to blame herself-he killed him. She should have come to Barnabas before they ran away, she says. Barnabas assures her that she's young and has many pleasant things to look forward to--even after this. They gaze at each other like lovers for a moment, and Barnabas continues, saying they have to start living again, to heal themselves. How, she asks, and he starts to tell her about Angelique. Seeming to sense he's going to suggest that they get back together; she tells him not to say anything he'll regret.
The phone rings and Liz races to answer it. It's the sheriff--they've got the kidnaper, but he apparently isn't talking about where he's hidden Carolyn. Liz relays all this to Vicki. They've been questioning the man, who was caught in front of the Old House, endlessly, but can't get a word out of him. Liz wants to order the sheriff to release the man, who might lead them to Carolyn.[/spoiler](http://www.dsboards.com/epimgs/0504-1.jpg)Vicki doubts they'd release him, even for her. They decide to go into town to speak to the prisoner themselves.
Beth comes downstairs. She tells Judith Jenny put the "babies" back to sleep. Judith calls Beth a fool--we are all turning as mad as she is--those aren't babies, but breakable dolls--she's had dozens of them, and can't tell the difference between them. She can't tell the difference between anything anymore, rants Judith, including life and death--and I won't have it, not now that all this is mine. I said nothing against you, insists Beth, she just happened to find you there--all Jenny is afraid of is that you'll take her babies away. Beth, she must go, insists Judith. She has no where to go, says Beth, and you know that. Rachel is beginning to suspect more than she should, says Judith, and mustn't know about Jenny--nobody must. Beth heads back upstairs.[/spoiler]
Julia has drinks with Olivia in her room at the Inn. The actress is surrounded by her own headshots. I didn't know you were that interested in Tate, says Julia. Oh, yes, says Olivia. A very ambitious project, having a showing of his paintings, says Julia. All I have to do is the preliminary scouting, says Olivia, I have a dear friend in NY who owns a gallery--he does the real work.[/spoiler](http://www.dsboards.com/epimgs/0903-2.jpg)Strange project for someone like you, says Julia. Not really, says Olivia, he painted a portrait of my grandmother--I'd like to see him rediscovered, for her sake--I was very devoted to my grandmother, a fascinating woman--someday, I must tell you all about her. I would like that very much, says Julia.
Collinwood - Carolyn answers the door. She fixes her hair before opening it. It's Jason, cap in hand, who asks for Liz. She doesn't think she's seeing anyone, she's back from the hospital, explains Carolyn. Yes, he was very upset to hear that, says Jason. She apologizes--she doesn't think she knows him. He didn't expect her to, he says, turning on the thick charm, but I know YOU--you're Carolyn, and she makes him feel terribly old--he reminds her she's letting all the cold air in, and could catch cold. Carolyn invites him in, and he says of course he wouldn't have recognized her if he saw her on the street, except for certain family resemblances. Where do you know me from? she asks. Right here, he says, when you were that big (and he indicates a short person). They go into the foyer, and she asks who he is. He looks around, saying the place hasn't change a bit in all these years--amazing. Where is your mother? Upstairs, resting, she says. She'll be down soon, I trust? Yes, she will. Jason volunteers to wait inside, and walks into the drawing room. But who are you? she asks again. Ah, this room, he says, one of my favorites, not a stick of furniture has been changed. She says she must insist on knowing who it is. Obviously, a very old acquaintance, says Jason. Carolyn gathered that much.[/spoiler]
Roger comes in, grim-faced. Vicki is smiling, radiant, and Liz asks her brother if he isn't going to tell her how beautiful she is. Roger agrees, but he didn't bring up her flowers--Jeff wants to see you, he tells her. Before the ceremony? demands Liz--impossible! Where is he? asks Vicki anxiously. On the terrace, answers Roger. Liz wants to go tell him it's bad luck to see the bride before the wedding, but Vicki wants to go. Liz is upset.[/spoiler](http://www.dsboards.com/epimgs/0625-2.jpg)Vicki glances at Roger's face and, knowing it's important, heads out the door, Liz calling after her, Roger looking miserable.
It apparently takes more than a warning to teach you a lesson, says Edward, so both of you are to stay in your rooms today. Jamison protests--I didn't do anything! Edward orders him upstairs anyway. Unfair, declares Jamison, I had something important to do today--but he can't tell his father what it was. Then he lies, "Quentin was going to take me on a hike." I might have known it involved Quentin, remarks Edward sourly--why must you always do things with Quentin? "Because no one else ever asks me," says the little boy sadly. (awww!)[/spoiler]
Cassandra arrives at the gazebo and informs Nicholas he's interrupted something important--she was trying to keep Vicki from leaving so she can have the dream. He moans that she's wasted too much time on Barnabas, calling her "some commonplace suburban housewife with little human worries."-why hasn't she yet made him the way he was before? Don't start with me again! she warns, and he grabs her wrist and orders her not to speak to him that way.[/spoiler]
Thunder and lightning blast and blare, winds closing and opening the windows. Trask, frightened, assures Minerva, "I will do anything you ask!" Leave this house, the ghostly woman's voice warns him, he's in this house, he will kill again! I don't understand, says Trask. The beast that walks like a man, she clarifies. "You're not Minerva?" he asks. BEWARE OF THE FULL MOON AND THE BEAST, says the voice.[/spoiler]
[/spoiler](http://www.dsboards.com/epimgs/0629-1.jpg)Nicholas asks the master, who still speaks through Maggie, why he has summoned him. Through Maggie's mouth, Nick is informed that he has failed him, and Eve is dead. Unselfishly, Nicholas begs--if I must account for what has happened, don't blame Maggie. The Master knows, but sarcastically asks Nick if he's become the defender of the innocent and pure at heart. No, says Nicholas, but the Master knows he's lying. The Master asks if Nicholas has fallen in love with her--he demands an answer? Nicholas replies, "Yes." The Master says he has become even more human than he was led to believe, and they must do something about it.
Old House, drawing room - Barnabas is looking through the family album when Julia joins him. Your injection will be ready shortly, she informs him. One mistake could mean your life, he warns her. Julia sits across from him and notes how often he's been looking through that album.[/spoiler]
Did you smoke the cigarettes I brought you? asks David. I smoked some, says Matthew. Mrs. Johnson's mad, she thinks I took them, says David. He again grabs David's arms and warns him not to steal anything like that again--you hear me--don't take chances, just cut it out! I'm sorry, says David. If you want to help me, says Matthew more gently, you must never do anything that might hurt me, understand?[/spoiler]
David comes into the drawing room, asking for Aunt Liz. She's upstairs resting, says Carolyn--and don't you bother her--she didn't get very much sleep last night. Where's my father? asks David. He's resting, too, says Carolyn--everyone around this house is exhausted, including me. She plops herself down on the sofa. David sits next to her. Do you think Matthew would hurt Vicki? he asks her plaintively. Let's not talk about it, she says. But I want to, he says, I'm worried about her, too--would he or could he hurt Miss Winters or anyone else. I don't know, says Carolyn, I never used to think so--he was always sort of gruff, but I never thought he could hurt a fly. What made you change your mind? he asks. Bill Malloy's death for one thing, says Carolyn, accident or no accident, Matthew was responsible. What if he wasn't, what if somebody else was? asks David. And somebody else tried to kill Vicki on at least three occasions, too, scoffs Carolyn, like the time the car tried to run her down. Well, my father was out in his car that night, wasn't he? asks David. Carolyn thinks about it. What are you getting at, she asks--if you still think Uncle Roger tried to kill Vicki, you must be out of your mind. Maybe, maybe not, he says. You really are a little monster, to think a thing like that about your own father! she says. Maybe I'm just smarter than everyone else, he suggests.[/spoiler]
--all Laura said is that it would be a shock to her family if she made an appearance. Roger makes a choking sound. Shock, he says, that's hardly the word--he rises and walks away from the table. Sam joins him. Why did she have to come back? asks Roger bitterly. I know she felt guilty about the accident, says Sam--during all those years she was married to you--wasn't that when she started drinking?--isn't that the reason she landed in an institution? What of it? asks Roger angrily. Laura may have come back to ease her conscience and get revenge for all those unhappy years, says Sam, and in the process, hang me--unless...she knew I saw the accident. I have already answered that question--I don't know! says Roger. She must have said something about it one way or another, insists Sam. She did not, says Roger firmly.[/spoiler]
Sarah, in Josette's room, carefully lays out her dress on the bed, then disappears[/spoiler](http://www.dsboards.com/epimgs/0281-3.jpg)when Barnabas comes in. He lifts his sister's dress and gently folds it into the trunk. He speaks to Josette's portrait--she and the past are gone, he says quietly, and he must learn to live in the present. He tells his ancestors not to come back--any of them!
Angelique paces the drawing room, exhausted. She must get rid of Jeremiah's ghost, but how? Why did he turn on her, and who's controlling him?[/spoiler]
Carolyn stops Adam just in time, demanding he give her the knife. Adam tells her Harry tried to kill him, but she assures him he won't, he mustn't harm him. She won't let him hurt Adam, says Carolyn, and Adam tells her of Harry's threat to turn him over to the cops. Carolyn reassures Adam on this score, too, and he admits he trusts her. She again asks for the knife as Harry grimaces with fear, and Adam finally relents and hands the knife to Carolyn.[/spoiler]
...and the audience shouts, "KILL HIM! KILL HIM!!
Liz paces the foyer. Roger comes downstairs, briefcase in hand, and tells Liz Vicki's in a sad state--I couldn't have gotten angry with her. She should be spending more time with the children, opines Liz--if she does, it would take her mind off Jeff. It's too much to expect, says Roger, we must wait and hope for the best[/spoiler]
Oh wow, according to the dual slide show, I chose quotes from the same ep (#281) exactly one year apart for this date.
I know - isn't that wild? I'm sure it's completely coincidental and what are the odds of it happening?! [easter_cool]
The werewolf growls in the confines of the chair. He stands, looks at his paws, knocks over a table and flees the house. Victor watches him go. I must get the hand, he says. He enters the Old House and sees table that held the box is now empty. Frustrated, he slams his hand down on it.[/spoiler]
Ep #794 (1897) - 'Victor' - 'The hand! I MUST get the hand!'
What a great storyline that could/would have been. Petofi in present time. Thayer is/was awesome in the role.
And the HAND! ROFL, I wonder what that would go for at auction?
Barnabas orders Megan to come here. A door opens and she comes to him. What's going on? she innocently asks. You heard nothing? he asks sarcastically. I must thank you, she says--I was so frightened, I knew he was out, I tried to awaken Philip, who'd taken some sleeping pills--I was so frightened! "YOU SHOULD NEVER HAVE UNBOLTED THAT DOOR, MEGAN!" he says, don't lie, I know you let him out--and why[/spoiler](http://www.dsboards.com/epimgs/0931-2.jpg)--stay here and do nothing until I have taken care of Paul Stoddard! Megan looks at him speculatively.
Will sits on the sofa, where Carolyn dabs a cut on his head. You should have known you couldn't stop him, she says. Will sits up straighter--I must warn Maggie, he says. Carolyn, her hand on his face, asks, what are you talking about? That's why he shut himself up in the room, explains Will, then he heard her voice... Do you mean he's going after her? she asks. Yes, says Will, I've got to get to Collinwood. Carolyn urges him to sit back down--you can't go in your condition, she says, I will. He holds her hand--be careful, he cautions, then leans back, wincing with pain.[/spoiler]
Remember Lorna Bell? Asks Trask--remember the mark on her forehead?--t was the mark of the devil, remember it? Gerard appears to have a dizzy spell. Trask shows him a paper with the symbol from Quentin's ring--think carefully, says Trask, have you ever seen that mark before. Yes, says Gerard, it's on Quentin's ring. Exactly! says Trask, he has the arrogance still to wear it--it must have been a gift from the devil himself. I'm afraid you're wrong, says Gerard--I gave him that ring. You? asks Trask. Yes, says Gerard, we were in a little village in Brazil, up the river, and one of the crew members got suddenly ill--Quentin had heard of a witch doctor who could perform miracles, or so Quentin said. You let him take a Christian soul to a pagan? Asks Trask. Gerard explains it wasn't his decision--but when the witch doctor was doing his incantations, Quentin mentioned the ring he was wearing--when the ceremony was over, I could see plainly Quentin wanted that ring very much, but was afraid to ask for it--so I bought it for him.[/spoiler]
I guess I made the mistake of thinking of you as the young girl I knew when I went away, says Bramwell--a great deal must have happened to you, tell me about yourself--I don't think I even know you. Do you really want to know? she asks eagerly. Yes, very much, he says. I don't think anything terribly interesting happened, she says--I just grew up, that's all--it's really funny, I always thought it would be different, but it's not different at all. You mean being an adult? he asks. Yes, she says. Why should it be different? he asks. I don't know, she says, I thought it would bring some freedoms that I didn't have as a child--I guess if I were a man, it would have, I don't know--but as a woman, well, I'm still living in Collinsport, as restrained as always, yet wanting so much to go beyond it. It's no better out there, I've been there, he says, but if you're so sure of it, go--you must have a sweetheart--marry him and go together. You make it sound simple, says Daphne, but I don't have a sweetheart, so that's out. I find that difficult to believe, remarks Bramwell. It shouldn't be, says Daphne--the young men want to leave Collinsport, too, and so they do, they go off and find jobs or go to school, some of them come back--but with wives--I did go out for a while with Gerard Stiles. Who? asks Bramwell. Don't you remember him? she asks. I guess not, says Bramwell.[/spoiler]
Quentin stands outside the rectory, thinking to himself, "That's where Barnabas is--where he waits for me--can I betray him? A wolf howls. What if I don't? Petofi...I'll leave Collinwood, he'll never find me, all will be different, and Barnabas safe. And I, what will I, Quentin, be? He hears a rustling in the woods and looks away.[/spoiler]
Quentin looks up and sees a hideous wolf's head staring back at him. It disappears, but--I know I must do it, I must! He goes on.
Stokes feels nothing connected to Barnabas is pointless, and the more he studies the dream, the more he realizes that. Has he reached conclusions? she asks--thank heavens, because Willie is going through hell. Only one more person must have the dream, says Stokes, a woman, and that woman may make it possible for Barnabas never to have the dream. Julia is anxious to hear, but Stokes advises this doctor to have patience- she will know in good time[/spoiler]
Carolyn was so sure she heard her mother. Must have been dreaming, says Liz. Didn't seem like a dream, says Carolyn.[/spoiler]
While the girls are talking, unbeknownst to them, the door opens, but we don't see anyone come in. Vicki spots the open door and tells Carolyn she's sure she closed it tightly.[/spoiler](http://www.dsboards.com/epimgs/0003-2.jpg)Looks like you didn't, says Carolyn, but when Vicki insists she did, Carolyn says when in doubt, look! She opens both doors. No one is out there, so she says the wind must have blown it open. There's no wind in here, points out Vicki. Carolyn closes the doors and tells Vicki she's going to have to try to get used to doors like that--it isn't easy, she knows, but she'll have to try
You've come back from the dead and you want your son, he outlines, there has to be a reason--what are you going to do to David? Love him, she says. There's more to it than that, he insists--you want him for a specific purpose. She stands. You're becoming tiresome, she says. I know I am, he says, that's because I'm closing in on you, and you can feel the pressure--I must know now--what is it you represent--the force of good or evil--what are you? You would hardly expect me to tell you I'm evil, she says. Why does Josette oppose everything you want to do? he asks. I can't imagine, she says. Does she represent good or evil? He asks, You're going to have to ask her that yourself, she says. I'll do that, he tells her, and very soon[/spoiler]
Oh, no, frets Willie, Barnabas, insisting that he "must live in a prescribed manner," is off to the races again, all set to turn another young woman (and he knows it's Vicki) into his Josette.[/spoiler]
Joshua asks her about her powers; he needs to fight this thing, undo it. She says if she had that power, she would have stopped what was happening long ago. He hopes she can help him-provide a witch to take off the curse--she might know of something. He reluctantly confesses that Barnabas is at Collinwood. She says they are dealing with the unknown, so the house must be empty--she will send a psychic message and if it's heard, whoever responds may have the power to lift the curse, and this person must be a friend or enemy.[/spoiler]
Liz asks Roger what happened. He doesn't know. Liz fears this will hurt Vicki; they love each other, what can change that? Roger tells her not to get worked up, but she can't be calm. He assures her he isn't calm or unemotional[/spoiler]
1:15 AM. Maggie paces the drawing room. She picks up the telephone and listens. It's impossible, she says, they couldn't hear anything out of this. Must be their imagination--but it's not!l[/spoiler]
A very drunk Quentin knocks frantically on Evan's door, hoping his old friend will understand the lateness of the hour. Evan points out how drunk he is. Yup, says Quentin, very--and it doesn't help. It never does, says Evan. Turn on the lights, asks Q, I don't like being in the dark. Evan demands, what do you want? Help! says Q--there's no one else I can turn to; only you understand. But I can't do anything for you, says the lawyer. There must be some way to end the curse, insists Quentin, and you have to find it. I tried twice and failed, Evan reminds him.[/spoiler]
Megan returns to Collinwood. Did you see him? Liz asks. Yes, says Megan--it must seem strange to the rest of the world--the woman whose husband was killed, in the same house as the woman whose husband confessed to his murder... Will Philip will stick to his confession, or is there danger he will tell the truth? asks Liz. No danger, says Megan, as long as he feels sorry for me. What about you, asks Liz, are you feeling sorry for yourself? I've never been happier in my life, responds Megan with a horribly creepy grin.[/spoiler]
What's wrong? demands Sabrina, immediately becoming edgy. I don't know, says Quentin, and explains about the girl at the Eagle and the check Cyrus wrote yesterday. Cyrus was at the Eagle yesterday? Sabrina asks. No, says Quentin, he gave the check to some roughneck who tore up the place and gave a check in payment. I'll be able to tell, she says, I balanced Cyrus' records yesterday; he's one of the few scientists who can't subtract. . .there are two checks gone, she says--I know they were there when I finished--do you know this man's name? No, he responds, he said he was a friend of Cyrus', but the girl didn't seem to think he was Cyrus' sort, and found the connection odd. Sabrina thinks it over, and says, last week, I found an IOU made out to Cyrus from a man Cyrus claimed was an old friend--John Yaeger. You never saw Yaeger? asks Quentin.[/spoiler](http://www.dsboards.com/epimgs/0997-1.jpg)No, she answers, but it couldn't have been Yaeger--no friend of Cyrus' would come and take his checks--unless...something has happened to Cyrus--suddenly afraid, she says, I know something is wrong--he said he would call last night, but didn't--that Yaeger must have him someplace! Quentin tries to reassure Sabrina, and says, if he does have Cyrus, I'll find him, he promises.
Mrs. Johnson paces the dark drawing room of the Old House. She looks out the window and sees Barnabas and Julia returning. They enter the house; he begins to light candles. Mrs. Johnson comes out and asks them, did Carolyn tell you anything? Nothing at all, he says. You must not blame her, says Mrs. Johnson, she's blocked it all out--too painful. We know that, says Barnabas, we didn't try to torment her[/spoiler]
It's no good trying to hide it from me anymore, she says, because I know all about it! She pulls open the curtains and reveals the head. I uncovered it, she says, and looked at it. You shouldn't have done that, he says. Didn't I tell you I felt evil in this room? she asks, and I was right, wasn't I?[/spoiler](http://www.dsboards.com/epimgs/1125-1.jpg)--and now it's killed that poor old man. He died of a heart attack, says Desmond, I must tell his family. He didn't die of no heart attack! she rails, he died of fear, he did--fear of that awful thing!--why did you ever bring it here, it can kill you, too, you know that, don't you? Nothing is going to happen to me, he assures her, but he seems miles away from the fun-loving guy we met. You're wrong! she says--it's already begun to happen--you're afraid of it just like Green was--there's something it wants you to do, and you're afraid not to do it. You just stop talking like that! he says, pointing a finger at her. Let me help you, she begs--I don't want no harm to come to you. Maybe you can help me, says Desmond--this man, before he died, told me something, but I don't know what it means--it concerns something very important that I must find. What is it? she asks. I can't tell you, he says, it's a secret. Her voice rises; she points accusingly at the head and says, you can't tell me because that THING wants you to find it! That's not true! he cries, turning away. Why don't you understand how evil this is? she asks--you must get free of it before it does something horrible to you.
Flora joins Gabriel in the tower room. Look at me, Mother, he asks--tell me if I look insane. Of course not, says Flora, facing him. Haven't I been perfectly lucid since you put me here? he asks, sounding rational. Everything you said it true, she agrees. Isn't that proof enough I'm all right now? he asks. She looks at him sympathetically and assures him, no one wants to believe that more than I do. Believe it, Mother, he says, you must because it's true--I never felt better in my whole life. It won't hurt to give it a little more time, she says. You've already given it enough time, he says, pulling the cravat from his pocket while his back is turned to his mother--think of what I've gone through in this room--I haven't complained, have I?--I've tried to understand, haven't I--done my best to take it like a man--he holds up the cravat in a straight line in front of his face--isn't that true, Mother? Yes, agrees Flora, walking away from him. Release me from this room, please, be begs, you've got to--I give you my solemn word, I'll be as good as gold. Distressed, Flora says, I would like to do as you ask, but I can't without consulting the family. You're the head of the family, he reminds her--you can make the decision yourself--Mother, please, he says, make it.[/spoiler](http://www.dsboards.com/epimgs/1234-2.jpg)He advances on her from behind, about to loop the cravat around her throat.
Rectory - Julia rummages through her doctor's bag and hears the weird, spacey sound that fills the room. Angelique enters-I came as quickly as I could, she says. Do you hear a sound like the wind wailing? Asks Julia. Ang can't hear it. It stops--but it will start again, it's all part of everything else, says Julia-it has to do with the way I came to this time; when I arrived from my own time-- only my astral body came, Count Petofi tried to have me killed because I'm not alive in this time. If you can't die, asks Angie, then what can happen to you? I don't know, says Julia, but you must be ready to do everything necessary to complete our plan, no matter what happens to me--"Are you willing?" asks Julia. "Yes, yes I am," Ang assures her. Good, says Julia, in obvious pain.[/spoiler]
Vicki sits writing at her desk. Carolyn knocks. When Vicki lets her in, Carolyn asks if she's still keeping the door locked. A habit, says Vicki. A good one around this place, says Carolyn--am I disturbing you? I was just writing a letter, says Vicki. Carolyn giggles and says it seems every time she pops in here, she's writing a letter--she must be loaded with friends back home. I have a few, says Vicki[/spoiler]
How could this illness possibly be related to Laura Collins? asks Frank. I don't know, says Vicki, it's just a very strong feeling I have--let's go talk in here, she says, leading him into the drawing room--we have a lot of decisions to be made, a lot to discuss--Mrs. Stoddard wanted to see you--she wouldn't say why--but that's why I left that urgent message for you. I'm afraid I wasn't available, he says. That's all right, says Vicki, because it wouldn't have made any difference--you couldn't have gotten here in time--just after I called you, she went into that coma. Do you have any idea what was on her mind? asks Frank--did she seem to have a feeling or fear of death? No, says Vicki, she did seem worried about what might happen to her. Maybe she wanted to say something about her will, he suggests, people in this condition often have a change of heart, they want to include someone, or cut somebody out of it. No, says Vicki, I don't think that was it--she seemed so much more urgent. What was she saying? he asks. She was turning over the house to Carolyn, but she was determined not to leave Collinwood, no matter what the doctor wanted. Was does he want? asks Frank. He wants to get her into a hospital so he can do more extensive testing than he was able to do here, explains Vicki. Why doesn't she go? asks Frank--does she have some fear of doctors and hospitals. No, that's not it, she says--she doesn't want to leave this house--you must remember she hasn't been out of here in 18 years--something's keeping her here, but she won't say what it is--she's adamant about not going.[/spoiler]
He assured her that, for Carolyn's sake (the bastard), he would bury the body in a trunk in the basement, and she would have to stand guard from then on to make sure no one found out (explaining her 18 year self-imprisonment; as the keeper of the key to the crime, she had to stick around and protect it).[/spoiler]
Jeremiah, having proclaimed his decision to leave no matter what, turns around to face Joshua. There is a black and white cat sitting there, but Joshua is gone![/spoiler]
Stokes isn't sure what they are talking about, but Adam says he's referring to himself. He asks Stokes if he believes in love. For some people, says Stokes. Some people should not be in love, adds Stokes, it would be most unwise. "I am in love," says Adam--with Carolyn--she doesn't understand; Stokes must tell her for him. Will he do it? Stokes seems at a loss for words.[/spoiler](http://www.dsboards.com/epimgs/0550-4.jpg)"What should I tell her?" asks Stokes. How love is, responds Adam. Stokes is sure Carolyn knows that. Adam wonders why, then, is she so frightened.
Mrs. Stoddard comes downstairs holding a telegram--I want you to come to Portland, to the airport, to get your father, David. TONIGHT? he bursts out, puzzling his aunt--not that I'm not excited to see my father, he amends. Liz tells him Roger wants his son to come to the airport with her. Liz asks Amy along, but David doesn't move to wash up and comb his hair as requested. Trying to get out of the airport trip, David tells Liz they had something planned, but can't explain what. Then he blathers about studying for a test, finally admitting he doesn't want to go! David can't explain, but it's obvious he's very upset. You wouldn't understand, he tells Liz, but I can't go, I can't![/spoiler]
Charity Trask and Rachel Drummond each wonder what the other is doing at Collinwood. Charity enters and drops her suitcase. What a splendid school this house would make, says Charity, who wants to know why Rachel hasn't answered her question. Rachel defiantly says, I don't have to. Unfriendliness is a character fault, says Charity, as my father has said so many times. Rachel isn't at all interested in what "your father has to say." You should be, says Charity, he is (interested) in you. Rachel explains she works for the Collins now.[/spoiler](http://www.dsboards.com/epimgs/0727-2.jpg)Charity asks, "Do they KNOW about you?" Rachel looks scared. Charity says, your face has answered that one for you--servants must be very hard to find. "I'm the governess," says Rachel defensively. There is some justice, comments Charity--if my father were given to amusement, that would amuse him. "Will you take me to him, or is that someone else's. . .job?" Rachel is horrified to hear the Reverend Trask is here. Didn't you know? asks Charity, they sent for him--something must be done with the children of the house--but then you must know that. Poor Rachel looks ill.
Michael told me what had happened--he says he wants Julia killed. Did he tell you I wouldn't permit it? asks Barn. Can you really stand up to him? asks Megan. Yes, says Barn, uncertainly. I don't think I can, says Megan nervously--when we talked, the look on his face frightened me so, it was inhuman, when he grows up, he isn't going to be like that, is he?--I mean, that capable of destruction. Barnabas, distracted, insists, this isn't the time to talk about Michael.[/spoiler](http://www.dsboards.com/epimgs/0915-2.jpg)Megan, sounding much like Crazy Jenny, says I must, please, you're the only one I can talk to. Not now, I'm extremely tired, he says. You just said you'd been sleeping, she reminds him--you want to get rid of me--I won't go, I can't, not feeling this way. Looking ill, Barnabas urges her to go--it's starting to rain. Do I have to beg you to listen to me? cries Megan--then I will-- I am SO frightened, when I listen to him, what he says, it seems to right, but when I think about it, I know how wrong it is... Megan, cries Barnabas, I beg you, go now--please go now! I don't understand, she says, and, giving him a look of hatred, she leaves. Barnabas, tortured, asks, what's happening to me? Then he looks in the mirror--and can't see his reflection! "There's no reflection!" he says to himself. He opens his mouth wide, puts a hand to his head and moans, a terrible sound--there are fangs protruding from his mouth!
He's about to smash the bottle, but realizes, I must play it smart--I'll hide in Longworth until it's safe to walk the street again. He drinks his antidote like a good boy and is instantly convulsed by the transformation pain.[/spoiler]
Eliot shakes Barnabas' hand and says, I was very much afraid we were never going to see you again. "Here I am," says Barn-"it's good to see you again." You must have an extraordinary tale to tell, guesses Stokes, and I'm most anxious to hear it. You once wondered about your counterpart in parallel time, says Barnabas, and what sort of man he would be and what sort of choices he would make. You found out, says Stokes. Yes, says Barnabas, and it nearly cost me my life. Good Lord! exclaims Eliot. You are fortunate that you made the right choices in this period, says Barnabas--let me take you into the drawing room and I'll start from the beginning. They enter. Barnabas closes the doors behind them.[/spoiler]
Julia exits the drawing room, looks around to see if anyone is around, and leaves the double doors ajar while she speaks to Barnabas. So Daphne is here, she says, why didn't she know Gerard's name?--why would she be staring at the house--if her carriage had broken down...she would have come here, finishes Barnabas[/spoiler](http://www.dsboards.com/epimgs/1122-1.jpg)--exactly--no, she was here for some other purpose, the curious thing is, she said she was leaving Collinsport tonight. Julia says that in the present, they thought Daphne and Quentin were in love--it's such a jigsaw puzzle. And Daphne is the last missing piece, says Barnabas, and now the drama will begin to unfold--we must change it, Julia, you and I--or else Collinwood in 1970 will be destroyed.
Bramwell, startled by this sight, examines the dead bodies, sets the candelabra down and reaches to touch the dead James Forsythe.[/spoiler](http://www.dsboards.com/epimgs/1243-3.jpg)Hearing Julia's voice calling his name prevents Bramwell from laying a hand on the body. Kendrick stands besides Julia. Bramwell returns to the main bedroom--I hear you, he assures her. Are you all right? she asks. Yes, he says. I found the secret room, and was in there when I heard you. Hand to her throat, Julia warns, whatever you do, you must not touch either of the corpses--because that's the mistake Morgan made.
Joe walks through the woods, shining his flashlight, looking for Vicki. Coming from another direction, Burke searches, too, looking to the left and the right. Find anything? Joe asks him when they meet. Only you, says Burke. Thanks a lot, says Joe. Listen, your tracks are everywhere, says Joe--you wouldn't make a good fugitive. Want to bet on that? asks Burke. One thing I'll say for you, you must have covered a lot of ground, praises Joe. Not enough, apparently, says Burke.[/spoiler]
you know what, I think it would be fun if you came over and spent the night sometime--would you like that? David's mouth drops open. Oh, I would--we could stay up real late and keep the fire going... They smile at each other. Yes, that's exactly what I thought, she agrees--oh, I'm looking forward to it--we're going to have such a good time together--everything is going to be wonderful for us--we must never let anyone come between us. Who would want to do that? he asks.[/spoiler](http://www.dsboards.com/epimgs/0159-2.jpg)I don't know, there was someone that...but that will never happen now, she says. (Brrrrr!)
(Entire drawing room scene of Carolyn, Roger and Vicki worrying about Liz and the basement room and then Liz offering to take them there not summarized.)[/spoiler]
Sarah's room - Sarah lies in bed, Naomi worriedly watching her. Barnabas comes in and tells his mother the doctor has no idea what's wrong. Perhaps Sarah will recover from her illness as swiftly as he did from his.[/spoiler]
Liz kneels beside Vicki and tells her not to cry. He died April 3rd, points out Liz, and it's dusk. She was hanged at dusk, says Vicki, and realizes Peter is going to the gallows at this moment, and she can't stop it. Vicki says Peter is dying because of her, which Liz denies. I killed Noah, not Peter, insists Vicki. Whatever happened to you a week ago has nothing to do with this, says Liz. Vicki wonders if she and Phyllis simply exchanged places--did it all really happen to her? She doesn't believe Peter loved Phyllis, he only loved her, and he didn't kill Noah.[/spoiler]
Magda stokes up a fire in the cottage, then dusts some furniture. Laura comes from the bedroom. Quentin will mind my being here just as much as I do, says Laura--he'll have to find another place for his little games and to rendezvous--take everything that belongs to Quentin and put it in a box, then return it to him. Magda nods. Do it now and unpack later, Laura orders. Magda begins rifling through the items in the desk as Laura ponders who Quentin is meeting here now--the pretty governess? Beth? He always liked her. Magda finds a deck of Tarot cards. Quentin knows how to read them, says Magda. No one knows what an obsession it all is to him, says Laura, who finds Angelique's knitted doll and notes with surprise there are no pins in it--he must be saving it for someone special. "You, perhaps, Madame," suggests Magda ironically. (Loved her delivery.) No, says Laura, this isn't for me, he's done everything to me he possibly can--and soon I will return the favor[/spoiler]
Megan and Philip frantically search the shop for the book, and finally conclude that someone must have taken it. Why, it has no value to anyone but us? points out Philip. I know, says Megan, and I also know that whoever took it must pay for it--WITH HIS LIFE!, she says through gritted teeth. She looks around, wondering, what made me say that?--we would never have dreamed of hurting anyone--before. Philip agrees. But it's all different now, we serve him, says Megan, and whoever has taken his book, we will track down.[/spoiler](http://www.dsboards.com/epimgs/0893-4.jpg)"And kill!" adds Philip.
Quentin returns home and asks Hoffman, how are things going for tonight? Maggie looks hopefully at him. Very well, says Hoffman--Mrs. Stoddard is trying to calm Cook's nerves. Quentin chuckles. He meets Maggie in the drawing room and says "hello." Did you have a busy day? she asks. Oh, so-so, he responds. They are very awkward with each other. Quentin pours himself a drink. I guess I was asleep when you came home last night, she says--you must have gotten up very early. Yes, says Quentin.[/spoiler]
there is an estate here named Collinwood, and a man named Daniel Collins lives there, with two sons, Quentin and Gabriel--go there and talk with one of them. Do these men know you? he asks. You're not to mention my name, she warns him. How do I get in? he asks. She says she'll leave that up to his gypsy ingenuity. I'll talk to one of these men, says Laszlo, what will I find out? You're to find out about a man named Barnabas Collins, she instructs--find out if he's in Collinwood, if anyone knows him. If he's a relative, says the gypsy, of course someone is going to know him. She gets a look in her eye and says they may not.[/spoiler](http://www.dsboards.com/epimgs/1130-0.jpg)Who is this guy? asks Laszlo, and what's his connection with this room? "Barnabas Collins is the only man I've ever loved," says Angelique. Laszlo laughs--except me, of course, he says. She clasps his hands and, laughing, agrees, except you, of course--now go, and hurry--be very careful--one last thing--you must not mention Barnabas' name until it is mentioned to you first. Why? he asks. There are reasons that need not concern you, she says. Barnabas Collins, says Laszlo, another of your mysteries. Yes, she says, and the most important mystery of all--now hurry.
He finds Willie in the kitchen adding four spoons of sugar into his coffee and demands back the pin. The scene between them grew tense and very interesting as Jason counted to five and Willie finally gave it up[/spoiler](http://www.dsboards.com/epimgs/0208-1.jpg)
[/spoiler](http://www.dsboards.com/epimgs/0405-1.jpg)In Collinwood's drawing room, Josette firmly tells her Aunt Natalie to make her goodbyes--she's leaving Collinwood. Natalie is upset, knowing this is Barnabas' doing (she says she considers HIM the danger to Josette), and even though she forbids her niece in this foolhardy act, Josette is determined.
491[/spoiler]
Julia starts the liquids flowing through the glass beakers, turns on the electricity, lifts both switches at once. Barnabas' body arches in pain as the electricity crackles. Dials roll, paper tapes run through the machine. Barnabas moans, and he tells Julia it must be working, he feels himself getting weaker, his life slipping away from him. He seems to welcome this, but Julia appears alarmed. Julia grows uneasy; puffs of smoke erupt from several places, unnerving her, and she spins the dials crazily. She turns off the power, then checks Barnabas' pulse. He's still alive!
821[/spoiler]
Magda wrings her hands nervously, walking around the mess of the Old House drawing room. She rights the candles in the stand. Johnny returns, empty-handed, and says, I see nothing but a lying, thieving gypsy. She begs him. He reminds her, call me "King Johnny." I don't have the hand and don't know who does, she says, and I can't tell you who does.(http://www.dsboards.com/epimgs/0820-4.jpg)You are Magda, who can say anything you want to say, he says--maybe you need some help in remembering, he suggests--I will give you that help. He hits her across the face, first with the front of his hand, then the back of it. How about that?--do you remember the name? asks Johnny. He draws out the knife--or do you need more help? Magda spots something under an overturned chair--the box containing the hand! King Johnny takes the box and says, you finally realized going against your people was a little too dangerous--you were clever, as always, you slipped it there while I was upstairs. I swear I didn't, says Magda, because I don't have it--the box must be empty!
In the room where she is being kept prisoner, Julia muses, I could hear someone if they were coming, and they could hear me if she called to them--but she hears nothing, and she's so tired, so very tired. . .but I must not fall asleep, I've got to stay awake, it's my only hope--"I've got to stay awake!"[/spoiler]
480[/spoiler]
Barn grows more agitated and threatens to call Julia himself. Lang refuses to believe Julia could hypnotize Jeff or keep his secret. Barnabas heads for the phone--he's calling Julia! Lang orders him to put down the phone!
Liz and Jason come in and Liz makes the announcement[/spoiler](http://www.dsboards.com/epimgs/0249-4.jpg)--she and Jason are going to get married! Roger, Vicki and Carolyn look completely shocked, but Carolyn also looks like she's going to throw up.
I, personally, will bring your luggage here. No, I must think, she insists, you can't force me into this! She runs off, Trask calling, "Wait!" He races past Pansy/Charity, who teases him about having had a fight with his girl... He calls her Charity. She asks why--you know who I am, I'm Pansy Faye! She sings her song and bumps him with her hip (an absolutely riotous scene), swinging her butt around. Trask demands she come into the drawing room. She bursts into laughter. No, you don't get me into that room, no sir, she says, I know your kind.[/spoiler]
Barnabas comes into the Blue Whale, where Burke is happily celebrating what he must think will be Vicki's acceptance of his marriage proposal. In one of the most fascinating and fun exchanges I've ever seen on DS, they sit down at the same table, Burke buys Barnabas a brandy, and they launch into a discussion that clearly delineates their adversarial relationship. Barn says he, too, might have something to celebrate--and that it would be nothing without Burke.[/spoiler]
I'm not at all sorry I woke you up, she says--look at that, go ahead--tell me what it says. He doesn't respond at first, so she asks again. Death, he replies. And who wrote it there? she asks. I don't know, he says. I've had just about enough of this nonsense, says Vicki. I didn't write it! he says petulantly. Who did? she demands--a ghost or a widow?--I want you to take these tissues--she pulls them from a box on her dresser--and wipe it off. No, says David. I'm not fooling, he says, I didn't go near your old mirror, I was asleep in my room! I want you to take these tissues and erase that, right now! she orders, thrusting them into his hand. It wasn't me, he says, it must have been the widows.[/spoiler]
Burke and Joe enter Laura's cottage, both bearing flashlights, calling to Laura. Joe searches in back while Burke looks around the living room. Joe tells him the back room is empty and there's no suitcase, but Burke points out that the fire is still burning, and if Laura left early this morning, who was keeping it going?--It's got to be her, Laura must have been here. Not now, and neither is David, says Joe.[/spoiler]
340
Freed from the family conference, Julia and Barnabas hasten upstairs, only to find the worst has happened[/spoiler](http://www.dsboards.com/epimgs/0339-4.jpg)--the strongbox has been pried open and the journal is gone!
Angelique goes into Josette's room and overhears Andre and Josette discussing the plan for Barnabas and Jeremiah to engage in a duel. Josette wants her father to stop it--they were as close as brothers, and look at what's happened, thanks to her![/spoiler]
The sheriff has two dozen men looking, and he intends to keep asking his questions until he gets satisfactory answers. Barnabas insists he's told him everything he knows, but the sheriff says that means someone else is lying--there must be some reason Willie knows the man's name, and some reason why Adam knows Barnabas' name. Prepare yourself for an ordeal, warns the sheriff, telling Barnabas to sit down--he won't leave until he gets the answers he wants. Barnabas obligingly sits.[/spoiler]
Maggie suspects David has a secret in the West Wing--or why would he go there this evening? Why risk going back tonight? Perhaps, says Liz, what seems important to David is trivial to us. Perhaps, agrees Maggie, but there must be something up there David wants to see--he risked doing so even though he was already on punishment, knowing it would be extended--so something must be terribly important to David in that room. Carolyn agrees with Maggie--David hasn't been himself lately, and for both Maggie's and David's sake, Liz should try to find out what's bothering him.[/spoiler]
Left alone with Barnabas, Beth is uncomfortable. You must hate me, she says, for failing you. No, he assures her, I summoned you, but Petofi prevented you from coming to me, I don't blame you--I misused you, says Barnabas, ashamed--you belong to Quentin. I will never use what powers I have to summon you again.[/spoiler]
Nothing has happened except in your mind, she says. Not in my mind, he says. I've listened very carefully, since this began, she says--I'm sorry, but it IS in your mind, I can't bear to think of what's happening to you, but you can be helped. By whom? he asks. Kneeling down beside him, she pleads--let me try. You want to take care of me? he asks--a father is supposed to take care of his daughter, and I've done a miserable job of that. Don't start hating yourself, asks Carolyn. I hope you never understand what that means, he says, and I hope you never will. I know I will, she says passionately--if I let you go away, or go away with you, whatever is wrong must be dealt with here--I can't let you leave, and we must take care of it here, it will only follow us, here in Collinsport is where your only hope lies. He shakes his head. "Then there is no...hope!" he cries, defeated.[/spoiler]
Where are the others? asks Sabrina--where is Cyrus? There will be no seance in this house tonight, Roger insists. But we planned it, protests Sabrina--Cyrus and Mrs. Collins. Maggie? asks Liz. No, not Maggie, says Sabrina--Angelique! Liz and Roger are astonished. You must sit, says Sabrina--all our hands must touch. What's happened to Sabrina? asks Roger. The clock strikes 11 PM. We can't just leave her here, says Liz. She thinks it's that night! says Roger, staring up at the clock--what other explanation could there be?--it was at the same time, six months ago, when we gathered in that room.[/spoiler]
I'm not Harriet, protests Julia, holding her throat. Ha--how like you to say that, accuses Daniel, do you not think I recognize you?--of course you've changed, but you were always deceptive, always pretending to be someone you were not. He is clearly nuts. I should have known that when I married you! he shouts, coming closer to her. Julia warns him she will scream, she swears. You cannot scream, he insists insanely, if you scream, they will come--they will know how you haunt me, how you always come back to haunt me--I thought when I killed you first, that would be the end of it, but no, once you kill, you must kill over and over again. He lunges at her, grabbing her throat again. She calls him mad, and he demands to know why she came back, why, why do we relive that night, why don't you leave me alone?[/spoiler]
You were engaged as a private secretary for me, is that correct? Yes, says Stella. You enjoy working good hours, earn good wages, and get your room and board free, says the older woman. I know all that, says Stella, I appreciate your having me here--I'm very sorry for the misunderstanding. There was no misunderstanding, says Flora sternly, you were instructed when you came here to remain in your room after dinner, yet last night at nine o'clock, you were found in the hallway leading to the north tower! Agitated, Stella stands--I told you I heard a terrible scream coming from the tower room, she says--Cook heard it, too. I've already talked to Cook, says Flora, she heard nothing. But she was there in the corridor with me, protests Stella--Mrs. Collins, it sounded like someone was dying. Are you telling me someone was killed in that room last night? demands Flora. I don't know, bleats Stella. (Gabriel's eyes widen; are they speaking of him?) If someone had, I'd have known about it, wouldn't I? asks Flora, and done something? Yes of course, says Stella miserably. Nothing happened here last night, insists Flora, nothing out of the ordinary[/spoiler](http://www.dsboards.com/epimgs/1188-2.jpg)--this is a very old house, and you must learn not to become hysterical every time you hear a strange noise in the night--do you understand? Yes, says Stella.
Judith answers the door to Magda. "Ah the happy bride, best wishes, Lady," she says. Judith asks, what do you want? To see Quentin, says the gypsy. I'm astonished you dare to come here, says Judith, considering you worked for Barnabas. He is a Collins, like you, says Magda--all Collins are hard to work for. Quentin enters. Leave us alone, Judith, he tells his sister. Judith leaves, first tossing Quentin a dirty look. I had to know, says Magda, I had this feeling. . .if you don't try tonight, I feel you'll never be able to try again, and I trust my feelings. I'll be there at dusk, promises Quentin. Edward comes out. Magda says, "Ah, Mr. Edward, you must be so happy to have a MAN in the family at last!" (oooh, nasty diss against both Quentin and Edward!) She laughs as she exits.[/spoiler]
Nicholas goes to see Adam and asks where Vicki is. Adam claims not to know, but Nicholas knows he's lying and assures him he understands why. Nicholas says he won't tattle on him, that he's his friend and saved his life. He wants to know where he'd hiding Vicki.[/spoiler]
Realizing he's looking at Sarah's picture, she asks him if he thinks she has returned. Don't be absurd, he snaps, she's been dead almost 200 years (and you're a vampire, Barn, what's your point?)[/spoiler](http://www.dsboards.com/epimgs/0302-1.jpg)You've come back, Julia reminds him defiantly, why can't she?--perhaps she's returned as a ghost. She's concerned that her experiments might fail because of his emotional imbalance--Sarah must be found before everything is ruined.
Carolyn takes and reads the letter. Liz asks Vicki if she's ever heard of Wilbur Strake before. No, says Vicki. Hey, a private eye! says Carolyn with a chuckle, what do you know? Yes, says Vicki--do you have any idea who might have hired this man to ask these questions about me? No, says Liz. Unless it has something to do with what you were talking about says Carolyn--Mother felt Burke might try to dig up something about our past. This has nothing to do with that, insists Liz. It sure sounds like it, says Carolyn, reading, "He was anxious to learn the details of your securing your position"--he means with us, of course, "why you were hired by the Collins family, who recommended you, and all the rest of it"--whatever that means.[/spoiler](http://www.dsboards.com/epimgs/0021-3.jpg)Liz looks around nervously. What she means is, says Vicki, he wanted to know why your mother hired me in particular when she never heard of me before. I've already answered that question, haven't I? asks Liz, forehead furrowed. Yes, says Vicki, you said your brother was the one who made the recommendation, but... Miss Winters, says Liz, rising from the couch, I thought we settled this matter. Maybe you have, says Carolyn, but someone else hasn't--(to Vicki) Don't you have any idea who might be this interested in you? I thought your mother might know, says Vicki--do you think Burke Devlin hired this man? I suppose it's possible, says Liz. Why would he want to know about me? asks Vicki. I can't answer that, I don't know, says Liz, now flanked by Carolyn and Vicki. You think Burke Devlin was responsible for the car accident, don't you? asks Vicki. Yes, says Liz. Then you must also think, says Vicki, that the only reason he came back here was to harm your brother and you. Yes, agrees Liz. Well, then, it's logical the only reason he'd hire someone to make these inquiries is if the results would be harmful to you, doesn't that make sense? Miss Winters, asks Liz, are you asking me whether or not I'm trying to hide something about you and your past? Yes, says Vicki (forthright, spunky girl!) Liz walks away and says the answer is no.
Collinwood drawing room - Believe me, says Peter to Roger, you're doing the right thing. I hope so, says Roger. David mustn't go near his mother, says Peter, it isn't safe. I don't know how safe I am, says Roger--Laura threatened me, said she would do something drastic if I didn't let her have David. What? asks Peter. It doesn't matter, says Roger, but if she carries out he threat, it could be damaging to me--I would like to believe she won't go through with it. All I can say is, says Peter, your son's life and possibly your sister's life could be at stake--anything you can do to help them has to be done.[/spoiler]
Liz has heard about the fight between Burke and Willie at the Blue Whale, and orders Jason to get him out of not just Collinwood, but Collinsport.[/spoiler]
In her room, Angelique tells Ben he is now bonded to her, unbreakably, and she plans to use his strength when she has none to use. He knows he must obey her. She tells him to get an unbroken spider's web from an oak tree[/spoiler]
They hear a knock at the door and Nicholas tells Adam he'd better go. Nicholas opens the door to Julia--who says she must see Adam. He tells her Adam isn't there, but she insists he's lying. She opens the living room doors and demands to know where he is. I can't help you, says Nicholas, good night. She tells him she has news about Eve--she's dead. Nicholas' face collapses in disbelief and horror. Dead? She was murdered, says Julia. Adam listens in.[/spoiler]
Barnabas helps Joe onto the sofa. Joe says he's all right--but says perhaps I was wrong when I described the animal as a wolf that walked like a man; he lunged at me before I knew it, and I could see the shape of a dog, eyes and teeth. That's exactly what Elizabeth saw, says Barnabas--Liz was attacked, as were many other people. Joe says when he was in the hospital, he was trying to solve the mystery of what was making him behave so oddly, to do the things he'd done. Barnabas assures him the past is over with, forgotten, the present is important, (I guess that's his way of saying he forgives Joe for trying to kill him during the Angelique-jealousy mess), and this animal MUST be found.[/spoiler]
Quentin continues to strangle Laura, then abruptly releases her when he's filled with pain, his body enveloped in light. He accuses her of doing something to him, but she says she's not--anger, she says, heats the blood and puts strain on the heart. He clutches his stomach, accusing her of doing something terrible to him. She denies it, and fears coming moving closer to him in case he tries to kill her again. "You're dead already," he moans, writhing in agony. Laura half-humorously suggests the pressures on his brain must be very great. Help me! he beg. Repeat that, Laura asks. I promise to stop you, he vows, whatever you're doing to me. Laura maintains, I'm doing nothing except enjoying your reaping the rewards of a rich and well spent life. When he begs for her help, she laughs. How does it feel to beg? she demands--to suffer? I don't want to die, he says, walking around the room in a pain-filled shuffle. Do you think I wanted to die in Alexandria? she asks shrilly, when the fire priests dragged me, screaming, to the sacrificial altar?-- "Quentin!" I cried, Laura reminds him, "Help me, Quentin!" She notes that he seems to be unconscious, and callously checks to make sure he can still hear her. He can, so she continues--I remembers the priest dragging me to the flames, asking why I was crying to Quentin for help--when he's the one who betrayed me? I had to, groans Quentin, or they would have killed me. I finally figured that out, she says bitterly, and now the death you evaded then has caught up with you, right here at CollinwoodShe laughs--well, goodbye, she says, enjoy your rendezvous. He tries to grab her before she exits. Laura airily assures him, "Dying is not so bad, Quentin, once you get used to the idea!" She leaves him alone. Quentin sinks to the floor, unconscious.
she finds herself face to face with Mr. Best. It's storming. No, she cries, you can't come for me now. Did you forget your appointment with me? he asks--am I early?--it would be most unlikely. He checks his watch. I have five more minutes, says--you must give them to me. I wouldn't cheat you, he says, not if you were right.[/spoiler]
Angelique sits before the fire on the drawing room. Roger enters. How long have you been standing and staring at me? she asks--I could actually feel you staring, do you believe that? Then you must have the same sixth sense Angelique had, he says, it was uncanny. She smiles-- why were you looking at me? she asks. That's the cross you must bear for looking so much like her, says Roger, smiling gently. At least people no longer think I AM Angelique, she says, I found that terribly disturbing. I never doubted you for a moment, he says. Oh? She asks. I don't mean any offense, he assures her, but Angelique was one of a kind.[/spoiler]
He sits down, still gazing at the envelope, laughing. Like a naughty boy, he takes it out and reads: "I will wait for you at Collinwood-come there and I will tell you all that I remember." Tell all that she remembers? says Quentin aloud--oh, no, no one must... He is about to throw it into the fire when Barnabas enters, demanding, "What is that?" Nothing, says Quentin, just a note, it doesn't say anything. The note from Daphne? asks Barnabas. No, it's from Carolyn, says Quentin. May I see it? asks Barn. Quentin holds it crumbled in his hand, trying to hide it, but Barnabas takes it from him anyway, removing it from his hand. Quentin is ashamed of himself. Barnabas reads it and shouts, "You were going to destroy this?-Why?" Quentin pathetically says, "No one must know--no one." Julia enters--I looked everywhere for the note from Daphne, she says, but it's no where to be found. Barnabas holds out Carolyn's note--this note will be far more valuable, he says-I'll tell you on the way to Collinwood. Julia gives Quentin a last glance before they go. He sits down in the chair and tries to fold his very long legs up around him, begging, "Don't tell anyone-please don't tell anyone! Please, please don't tell anyone, please!" The camera pans back as he pleads, making him appear to be a child.[/spoiler]
I don't understand very much, she says, I don't know what to believe here. Yesterday, what I told you, he says, putting his hand on her arm, you can believe that. Don't touch me, she says, moving away. Yesterday was like a door opening for me, she says, but today the door has closed, and it must remain closed. Why? he asks. Joanna, she says. Joanna is dead! he says, holding her arms. You still love her! says Daphne. No, says Quentin. I can't take her place, insists Daphne. Quentin assures her she's got her own place. Don't even says that, she pleads, don't even ask me to think about that, not after I saw her crying in that asylum for you--do you think we could be happy as long as I remember that--no, Quentin.[/spoiler]
Justin's room - I had to come back to his room, Bramwell, says Melanie--he loved me, even if I wasn't his real daughter--once I wanted to find out who my real parents were, he told me not to try--wasn't it enough to have him and Mama?--it was...it was...the boys, they resent me, as they do you. Gently Bramwell urges, you must get away from Collinwood now. She looks at him, astounded[/spoiler](http://www.dsboards.com/epimgs/1200-3.jpg)--get away? she repeats Your father must have left you enough money, says Bramwell. Where would I go? she asks. Somewhere, says Bramwell, anywhere you can have a life of your own--wouldn't you like that?--away from this house, with all its superstitions and fears? I couldn't leave, she insists. Why? he asks. I couldn't, she says, anymore than the rest of them--don't ever ask me about it again. Bramwell looks at her sadly.
Jamison knocks at the door. Laura hides the scarab in her pocket. Jamison is disconcerted to see Dirk--I thought you would be alone. Dirk was just helping me with something I needed, Laura explains (tell your son what, Laura, I dare ya!). Jamison orders Dirk to go. Laura wonders how her son could speak to Dirk that way. Quentin says servants must know their proper place, says Jamison. Laura is angry to hear this--Quentin is the person trying to hurt me, she tells him, but Jamison doesn't believe her.[/spoiler]
David quietly leaves the kitchen with his bag of food and walks past the drawing room. I know what I'm doing, says Liz, and I'm going to fight Burke with every means at my disposal. I wish Matthew had managed to strangle Burke at the Blue Whale that day, says Roger. Don't be morbid, says Liz, and don't talk about Matthew--I don't like to remember what happened. David leaves the house. I feel sorry for him, says Roger--he must be crouched in some hovel, a hundred miles from here, knowing he can't go any further, knowing the police are going to find him--and he's in that position because of us.[/spoiler]
Once downstairs, Jason homes in on Barnabas' coffin and demands to know what's inside. Scared, Willie tells him the jewels are in a drawer in a table close by, and he goes to collect some pieces. Jason insists on having more, but Willie says the remainder are walled up. Jason is convinced the rest are in the coffin. Willie makes an effort to stop him, but Jason tells him, "I'm gonna open this coffin, Willie, and you're not gonna stop me.[/spoiler](http://www.dsboards.com/epimgs/0275-4.jpg)When Jason lifts the lid, however, his expression of glee turns to one of terror as Barnabas' hand reaches out and clutches his throat.
Adam is banging on the walls while Willie cowers in a corner of the cell. Like a kid having a tantrum, Adam wants to see the pretty jewelry. Julia comes in and calms the big guy down.[/spoiler](http://www.dsboards.com/epimgs/0494-3.jpg)Willie tells her to give him her necklace, it will calm him down and save Willie's life. Julia holds it up, per Willie's orders. When she does so, Adam takes it, happy, and sits back down on his bed. Julia tells Willie to leave quickly, which he does, and he informs Julia outside the cell he won't go back in there--he thinks Adam should be destroyed. No, says Julia. Then Adam will destroy YOU warns Willie, but she disagrees. Adam has an alert mind, but it's trapped inside him. They must free it so he can learn. Willie calls Adam dumb, and Julia haughtily informs him "It takes intelligence to know intelligence."
Her neck drips blood; she opens her mouth to reveal two very sharp fangsBeth screams at this vision, sobbing, it can't happen that way! Yes, agrees Petofi, It will unless you do exactly as I say--go to him. She walks slowly toward the adjoining room. This is the very last time that you will go to him, promises Petofi. But I must go to him whenever he calls me, protests Beth--he is my master! He WAS your master, says Petofi, but no longer--turn your back on him, or you will die and spend eternity as a vampire. Miserably, Beth turns her back and leaves the room. Petofi touches Barnabas' coffin and says, "She came to you because you were strong, she left you because I was stronger--surely you must realize now you have no choice, Mr. Collins, there is no one left to help you. You must take me with you into the future!"
Liz and David enter the drawing room and she asks him to explain that statement. Please, Aunt Elizabeth, he says. You made an accusation against Miss Winters, says Liz, and you're not leaving until I get a full explanation. David says she tried to hurt him, that's all--she grabbed at me and pulled me into her room--I was lucky to get away. Miss Winters never seemed like that sort of person, remarks Liz. Nobody believes me! laments David. What did you do? she asks--when he doesn't reply, she insists he must have done something. I took her stupid letter she got today! he says--I borrowed it, just to see what it was about, and she got mad. I don't blame her for being angry, says Liz, but I find it hard to believe she hit you. Well she did, he says, falling into her embrace, I'm scared, she hates me and is going to make up all kinds of stories about me.[/spoiler]
Just yesterday afternoon, right here in this room, I suddenly found myself becoming faint--I lost all consciousness of where I'd been, and even how much time had elapsed--I didn't even know how I'd gotten here. That's exactly what happened to my mother, says Carolyn--how awful for you. At the time, I thought so, he says, but now I think it's extremely fortunate--you see, I know who my adversary is--as I told you, something happened to stop the job of putting me into the trance, and unlike your mother, I know where I was and who I was with--I had just paid a call on Laura Collins. Carolyn gazes up at him, smug, smiling.[/spoiler]
Carolyn jumps up from the sofa. Laura--of course! she says, I knew it from the very beginning, there was no one else it could have been. Before you get too excited, he warns, you must realize this is only speculation. Not to me, she assures him, I know it's Laura. We have no proof yet, he says.
Carolyn goes upstairs to her mother and apologizes for running out the way she did--she realizes her mother did what had to be done in regards to Paul,[/spoiler](http://www.dsboards.com/epimgs/0275-1.jpg)and she will stand by her no matter what--they can get the best lawyer. . .
I must go to the Old House to look for my ring! declares Josette, climbing out of bed--Barnabas will expect me to have the ring. This statement horrifies Natalie, who tries to stop her. They struggle, overturning a small table, breaking the lamp that was on top of it. "The sound of glass shattering," remembers Natalie, who glances at the sky and is aghast to see storm clouds beginning to gather, obscuring the moon. The door blows open, terrifying both women.[/spoiler]
Barnabas gives in to Lang's threat to shoot and reluctantly hangs up the phone. He's shocked to learn that he can actually die now, which Lang assures him would happen if he pulled the trigger. It almost gives Barn pleasure to think he's THAT human. He agrees not to call Julia but still wants to bring her in, even though Lang continues to insist he doesn't want her to know about the experiment.[/spoiler]
Sandor asks Barn what's going on. Barn says he's studying ways to defeat death. There is no way, asserts the gypsy.[/spoiler](http://www.dsboards.com/epimgs/0740-2.jpg)Tell that to anyone but me, advises Barn (LOL!)--Go to the cemetery and look for a tombstone that says, "Laura Stockbridge, died 1785."--if I'm correct, they buried her in the crypt below the old meeting house--go there and find the tomb--I must know the truth about her, I have this fear she will defeat me unless I find out, says Barn.
David stares down at the page, riveted. Amy speaks to him--give me the book, she pleads--I'll tell! You'll tell nothing, he says curtly, not sounding like a little boy anymore.[/spoiler](http://www.dsboards.com/epimgs/0896-2.jpg)I'm not going to burn it, he assures Amy, not now... What ARE you going to do? she asks. What I must, says--stand outside the door and make sure no one comes in while I'm reading the book. This startles her--you don't know how. Yes I do, he says. Read some of it for me, she demands. You're forbidden to hear it, he says.
At Cyrus' lab, Will shakily takes a big gulp of yet another drink. Are you sure I'm not bothering you, Cyrus? asks Will. No, I need company tonight, Cyrus assures him. So do I, says Will--I remember once you and I talking about good and evil, and I accused you of knowing nothing at all about evil. You were wrong, points out Cyrus--we all have evil inside us, I think it best that we just admit it, and let it out. Like your friend Yaeger, laughs Will nervously. Cyrus stares at him--I didn't know you knew John. I didn't actually, says Will, I ran into him once, described him to Quentin, who said that must be who it is--he never mentioned me to you?[/spoiler](http://www.dsboards.com/epimgs/1020-3.jpg)No, says Cyrus, why should he? I just thought he might, says Will--where is he now? He's waiting somewhere, says Cyrus, to come back--you know, he and I are much more alike than you think--the only difference is, I work and he plays--and I do what I should, and he just does what he wants. Try it yourself, Will suggests--quit work, have fun, just have a ball. I wouldn't know where to begin, says Cyrus, examining a test tube. Do it by just doing whatever you want, for once, advises Will. Yes, agrees Cyrus, you're right, I should--I will!
Maggie is doing paperwork at the drawing room desk when Shaw knocks. Mrs. Stoddard is out for the day, she says. When will she be back? he asks, it's very important I speak to her. I expect her later on this afternoon, says Maggie--is there anything I can do to help? Are you one of the family? he asks. She introduces herself as Maggie Evans--I work for Mrs. Stoddard. Clearly smitten by her prettiness, he says, it's nice to meet you. Maggie smiles back, looking at him intensely--I've heard of you, she says--Mrs. Stoddard has often spoken of you, quite often, I knew who you were when I opened the door. Thanks for not reacting the way everyone else does, he says. You mean your resemblance to Jeb Hawkes? she asks--I was prepared for that. He grins--I wasn't prepared for YOU at all, he says--I've heard your name mentioned, but no one ever said how lovely you were. You're very direct, she says, smiling back. Does it frighten you? he asks. No, I find it disarming, she says. I want to disarm you a little further, he says--would you like to go to dinner tonight?[/spoiler](http://www.dsboards.com/epimgs/1090-2.jpg)"You're a very unusual man," says Maggie, pleased--I am flattered. But you're going to decline, he finishes. Actually, she says, I'd be inclined to say yes--she smiles some more.
Gerard says to himself, "You always get what I want, don't you, Quentin?--no, Quentin always got what Gerard Stiles wanted--but I am Judah Zachary now--I want her as Judah Zachary once wanted Miranda--and I will have her!" He takes the circular symbol out and holds it near the flame. Daphne, says Gerard, Daphne, wherever you will be, you will fall into a very soft sleep--sleep...[/spoiler]
Daphne leans back in her chair in the Collinwood drawing room, but continues reading a book.
Don't fight me, intones Gerard, surrender--surrender to me and though you will not remember when you come to me or why you come to me, you will be one step closer to being completely mine!
Daphne falls asleep, leaning her head against the chair.(http://www.dsboards.com/epimgs/1151-2.jpg)She dreams Gerard enters the drawing room and stands smiling at her. She goes to him, into his arms. I mustn't stay, he says. You must! She insists, caressing his face and hair. This house is too dangerous for me, he says. Nothing is dangerous for you when you're with me, she vows. How about Quentin? he asks her. Do you think I care about Quentin? she asks, grinning, and kisses him passionately, then holds her. Whenever you want to see me, he says, you will have to come--you will have to come. I'll see you always, she says, don't stop me from holding you--and she kisses him again. He backs away, and tells her to come to him whenever she wants to see him--you'll come--you'll come. He backs away, Daphne calling his name over and over. Daphne awakens, rises from the chair, looks around, puzzled, then hastily leaves the house.
One of the first things I remember, says Morgan, I must have been five or six, I remember hearing my parents talking about that room and what would happen when we grew up, and that one day Quentin and I would have to go into that room and spend the night--I couldn't understand why--then the next day, I went to the West Wing, down the corridor, and I stood in front of that door, and I began to tremble, as if I could feel the evil inside--and then I ran away--but I can't run anymore, can I? One of us cannot now, agrees Julia. It will be me, says Morgan with certainty--I'll be the one who will have to go into that room--I've known that, I've always known it since the first time I heard of it[/spoiler]
First we have to light a candle, says David, and does. They promise each other not to be scared. David says he's no virgin seance holder. He tells Amy to turn off the lights. They sit at the table, the old telephone in the center, along with the candle. David instructs her to touch hands on the table to make a circle, which must never be broken. Concentrate, advises David, on Quentin--he makes sure she isn't afraid one more time, then calls to Quentin. "We are calling you! Wherever you are, come to us! Tell us about the old telephone and why you spoke to Amy through it."[/spoiler](http://www.dsboards.com/epimgs/0640-1.jpg)"Quentin Collins, we are calling you. If you are here, speak to us. Give us some kind of sign!" Nothing happens, but David looks frightened as he proceeds to call Quentin again. The door opens by itself and they see a hooded figure in the hallway. It's just Vicki. and her dark hair, dressed in black. She switches on the lights.
Carolyn and Vicki are turning down the bed. (Vicki's wearing a nightgown, not PJ's.) I heard it again! says Carolyn. Must have been one of the shutters, says Vicki--the wind's come up. Carolyn shakes her head--it wasn't a shutter. She says--I know the sound every single shutter in this house makes. There's a banging sound. There it is again, says Carolyn. Sounded like it came from the drawing room, says Vicki--has your uncle come upstairs yet? I heard them come up not long after we did, says Carolyn. Then it must have been David, says Vicki, unlocking the door. Don't unlock the door! says Carolyn; however, Vicki says she's going to catch a live little ghost. Carolyn watches her go into David's room, but Vicki reports he's sound asleep--poor David gets blamed for everything that happens in this house. They return to Vicki's room and Carolyn locks the door. That's usually right, says Carolyn, David usually is to blame--but if it wasn't David, who was it? I don't know, says Vicki, grinning, but I'm not going into your mother's room or your uncle's room and ask if they happened to knock over something downstairs. I can, says Carolyn--if you go with me. I don't know, says Vicki--they already think we're seeing things, now they're going to think we're hearing them. We ARE hearing things! says Carolyn--and we did see a dead man at the foot of Widows' Hill tonight--nobody can convince me differently.[/spoiler]
Carolyn goes upstairs to her mother and apologizes for running out the way she did--she realizes her mother did what had to be done in regards to Paul,[/spoiler](http://www.dsboards.com/epimgs/0275-1.jpg)
[/spoiler](http://www.dsboards.com/epimgs/0405-1.jpg)In Collinwood's drawing room
Collinwood - Barnabas tells Julia to distract Roger while he goes up to Cassandra's bedroom.[/spoiler]
Quentin tries to unlock the door with one of the keys on the ring, assuring Jenny, I'll be with you very soon. He hears a door slam, tells Jenny not to make a noise, and assures her he will be back. Beth listens at the door and screams when Quentin leaps out at her. Jenny asks, "Who's with you?" Beth grabs for the gun--I she won't let you do this, Quentin!--I'll wake Barnabas, she threatens-- "I will!" she swears. The both walk away. Jenny asks Quentin, wasn't I pretty enough? She looks at her reflection in the mirror, realizing he never saw her. Why am I so scared, I didn't used to be so silly...I must wait, she resolves, he told me that, and be quiet. . .I don't want to wait! she cries, but he told me to, so I must...she touches her hair nervously, then sits down on the bed, looking like a frightened bride, to wait.[/spoiler]
Bruno raises the shade and tells Chris, you can look at the moon and enjoy its beauty, but you, tonight, how desperate you must feel, knowing tomorrow it will be even more beautiful, more full!--are you going to help me, yes or no? I'll never help you, vows Chris. Bruno shows him the knife up close and asks, do you love Sabrina, and if you do, you'd better change your mind--I'll let the two of them be together a while, and perhaps you will realize how much she means to you.[/spoiler]
We see Angelique's portrait and hear Hoffman talking. At first, it appears she's speaking to the portrait, but then we realize Hoffman is on the phone, Mike R. Phone above her head, telling Angelique, all I know is that Maggie is back at Collinwood--I don't know how he got to her, but Yaeger is dead. Yes, I was as shocked as you--yes, Barnabas must have killed him--that's what troubles me--there's no telling how much he knows--yes, I will--you must come back ASAP--I have uncovered something--concerning Barnabas--it may be what we want--yes, I'll tell you as soon as you arrive, hurry, please. We pan in on Angelique's portrait again.[/spoiler]
Have you been told about her and that young man? asks Daniel nervously. Yes, I have, says Quentin. What are you going to do about it? asks Daniel. The decision was left entirely to Samantha, says Quentin. What? asks Daniel. She is going to have to choose between Gerard and me, says Quentin. Have you taken leave of your senses? demands Daniel...that woman is married to you, you must do as you tell her! (chauvinist) Quentin begs him to calm down, and Flora reminds him this is supposed to be a happy moment. He hasn't changed a bit, says Daniel, gesturing to Quentin, I haven't been in his presence five minutes, and already he's made me furious! He turns away. Quentin chuckles and goes to him, turning him around, saying it's just like old times, despite all of your fury, you're still secretly glad to see me. Grumpily, Daniel says he supposes he is, but Quentin is still thoroughly impossible.[/spoiler]
Now that Gabriel is gone, a new decision has got to be made about the lottery, she says. Bramwell becomes upset--surely you won't be involved in that any longer!--my wealthy relatives may permit their women to face danger, but not when it comes to having children!--if you talk to them... I will tell them nothing, she insists. I will not permit you to endanger my child! cries Bramwell. I will tell them nothing, she says--and I'm endangering no one --don't you understand, there is no real danger? People have died, gone mad, he reminds her--so, I have no choice but to do what you won't do--if necessary, Catherine, I will go to that house and tell them that you're having a child. You can't do that, she says--you gave me your word. I won't tell them the whole truth, just that you're pregnant, he says. Don't you see? she says--that IS telling them the whole truth--each of them will ask themselves how YOU came to know I was going to have a child--no, Bramwell, you can't stop me that way, or any other way--you must have faith in me[/spoiler](http://www.dsboards.com/epimgs/1220-1.jpg)--I have my own good reasons for what I'm going to do--and I intend to do it! Nearly crying, she leaves the house. Bramwell is perturbed.
In his room at the Inn, Burke looks through some legal paperwork, feet on the coffee table. Sarah Johnson pays him a visit, telling him she has to talk to him. I have some news that couldn't wait, she reports--they found out who's been trying to kill Vicki Winters. Roger Collins? he guesses hopefully. No, she says, and what's more, Mr. Collins did not kill Mr. Malloy. What are you talking about, he's got to be the one, insists Burke. No he isn't, says Sarah, you were wrong and I was wrong--the man who did the actual killing was Matthew Morgan.[/spoiler](http://www.dsboards.com/epimgs/0113-1.jpg)I don't believe it, says Burke--what possible reason could he have? He thought that Mr. Malloy was hounding Mrs. Stoddard, and that was reason enough for him, she explains--he had to protect the sacred name of Collins. I suppose that's still what he's doing, says Burke--did he make an actual confession? Not to the sheriff, he didn't says Sarah, but he did to Miss Winters and he as much as did to Mrs. Stoddard. Where is he now? asks Burke. He could be in Canada now, she says--he turned and ran as soon as Mrs. Stoddard confronted him. I can't believe it, says Burke, I was so positive it was Roger, as positive as I am that he was guilty of that manslaughter charge they tried to hang on me. Could you have been wrong about that? she asks. No, I was not driving that car, insists Burke. They said at the time you were drunk, she reminds him. Yeah, sure I was drunk, he says, and everything about that night is hazy, but...well... You didn't run away from something you knew you'd done, she says. Drunk or sober, I would never run away from anything, and you must believe that, says Burke. (I think Mitchell mixed up lines here.) I know, she says, it's Roger Collins, he'd run away from anything, from every one of his responsibilities--he'd hide behind his sister's skirts.
Liz has heard about the fight between Burke and Willie at the Blue Whale, and orders Jason to get him out of not just Collinwood, but Collinsport. Aha, but you can't send the boy away without funds, so Jason puts the screws to Liz once again and, after verbally sparring with him in their usual Blackmail Threat of the Day, gets her to agree to give Willie $500 to get him out of Collinsport.[/spoiler]
In a series of rapid cuts, the faces of Abigail and Trask are shown against a stark black background, accusing Vicki of witchcraft, detailing every attack in town. Trask declares that Vicki will be brought to trial without warning, before she can enlist the services of her master.[/spoiler]
Cassandra, clutching her bandaged hand, comes downstairs. Nicholas tells her bandaging the hand was very sensible of her, and she does so few sensible things. She pleads with him to not do this to her, and he reminds her he could have done worse. You need me, she insists, and can't destroy me-you need me in order to stay at Collinwood. Nicholas points out that no matter what happens to her, Roger will still think him her brother, and if he decides to destroy her, he will let Roger think she has gone away and allow him to stay at Collinwood indefinitely, if he wants. She insists he can't do this, but he assures her he can-and will-if she doesn't learn what went wrong with Barnabas' curse. You only gave me a few hours, she whines, I need help. He refuses, telling her to stop pleading with him, she's made too many mistakes already. She tells him she doesn't know what to do, how to start. That's your problem, he says (he's tough!)[/spoiler]
Kicking and screaming in Dirk's grasp, Nora insists she wants to see "her" when she gets back. No one is coming to the house tonight, insists Judith--behave or I will lock you in your room--go, Dirk--I'll take care of this. Nora doesn't want to tell her aunt who is coming back--because I don't want her to come back! Who? asks Judith. My mother, says Nora--"I had a dream, last night and the night before--she came, she did, and she looked just as pretty as she did before, and she woke me with hugs and kisses. . ." "Now Nora," cautions Judith. "Don't tell me dreams don't come true," commands Nora, "because they do--Jamison dreamed about her, too." Judith tells her that her mother is away for treatment. People get better, insists Nora. She hasn't, says Judith. "Did you get a letter from her?" asks Nora eagerly--if that's true, why didn't she write her and Jamison? She didn't write, says Judith, the doctor did. Nora wants to go see her.[/spoiler](http://www.dsboards.com/epimgs/0716-2.jpg)You can't, says Judith--she isn't strong enough. Edward and I listened to what the doctor said, explains Judith. Daddy didn't hear from the doctor, says Nora. (oops, caught, Judy!) Gently, Judith tells her, you and Jamison must try to forget your mother. We both tried writing our mother, says Nora, but we know the letters never mailed, because we found them in Daddy's desk--you won't let us write to her, or answer any of our questions, wails Nora. When you're older, says Judith, you'll realize there are questions for which there is no answer--now go upstairs to bed; you get cranky when you don't get enough sleep. Reluctantly, Nora goes upstairs, Judith right behind her.
]Willie tries to convince Barnabas how good Maggie was, but Barnabas says she's going to her grave as common old Maggie Evans.[/spoiler](http://www.dsboards.com/epimgs/0251-3.jpg)Cruelly, Barnabas says that she deserves to die, painfully, slowly, so that when she does die, it will be a merciful death. She'll die lifeless--and bloodless!
Lang works on his creation, distracted. He can't forget the nightmare. He answers a knock at the door, it's Julia. She asks him what's wrong, and he says, "The dream! This is exactly like the dream!" Upset, he asks her what's happening to him.[/spoiler]
Julia can't tell him what's happening to him. He says he can't work because of the dream. She asks what he's done about an assistant, and he can't even respond. She asks if something's happened to stop the experiment, and he says he must return to work. He only has a limited amount of time or the body will deteriorate, after 48 hours at the most.
7:30 PM - Trask comes in from the servants' entrance, gun in hand. He opens the double doors and enters, then sits before the desk and puts the gun down. He takes the inkwell and pen, and writes, "Tonight, there will be another full moon. I can no longer bear the thought of changing into the animal and spilling more blood. I must take my own life, it is the only escape for me." The front door opens. Trask takes the gun and puts it into the desk. He rises. Petofi enters carrying something large and bewrapped. He cordially greets Trask, who is standing there like an automaton. I'm looking for Quentin, says Petofi. I haven't seen him, says Trask. Curious, says Petofi, I was sure you'd know where he was. No, says Trask, slowly and carefully. Charles Tate finished Quentin's portrait, says Petofi--I consider it an extraordinary likeness. Petofi notices Trask is ignoring him, and says, "Someone has decided to prevent you from pursuing your duties--I won't have that, Mr. Trask, you must come within reach of your triumph, but only within reach." (Ah, so he set all this up! Probably gave Charity the visions.) The ultimate triumph for tonight will be Petofi's, but I shall have it! Petofi puts the portrait in the foyer, leaning it against the table.[/spoiler]
In the drawing room, Burke tells Vicki about David's nightmare (way to keep a secret--and a promise, Burke!) She's puzzled by it. Perhaps David's judgment is stronger than ours, says Burke. Barnabas isn't capable of harming anyone, insists Vicki[/spoiler]
Jenny's hair looks much better. She ties it back with a ribbon. Barnabas enters and tells her, I must go now, but you must stay until Quentin comes for you--some people will be here to look after you, he explains. Do you like the way I look? asks Jenny. I do, says Barn. She teases him--you shouldn't flirt with me--Quentin is very jealous.[/spoiler]
The cards don't lie, says Leticia--the first time I read them for him, I saw his future as he would be as himself--tonight I read the fortune of another man--I saw the future of Judah Zachary--I know it--Gerard has been possessed by Judah. There's only one way to end this, says Desmond, sounding crazed--if I could get out of this jail I would kill him myself! No! she cries. You still feel for him, accuses Desmond. Gerard? she says--oh, Desmond, you are so kind, when I was possessed by Judah, doing what he was telling me to do, you wouldn't have killed me--you'd have tried to help me, wouldn't you? Yes, says Desmond, you know I would have. Then you must try to do the same for Gerard, she says, there must be a way of saving Gerard from Judah.[/spoiler](http://www.dsboards.com/epimgs/1176-3.jpg)
Carolyn, who killed Angelique?...you must tell me insists Julia!--it wasn't Quentin, was it?--why won't you say? Carolyn, hand on her heart, shakes her head and, voice shaking, says don't ask me. We must find out who murdered Angelique, asserts Julia. Quentin will be caught and hanged unless we do something.[/spoiler]
The outer door opens. It's Jeb. He takes the paper shadow from his pocket, holds it up, then returns it to his pocket and knocks at the inner door. He enters and says, "Thought we'd never meet again, huh?" I had hoped that would be so, answers Blair. But we must, oh, yes, too much has been left undone, says Jeb--we must talk, perhaps for the last time. Nicholas eyes him with evil intent.[/spoiler]
thank you for getting the portrait. Oh, it was worth it just seeing Trask's face, says Charity. Judith walks over to the portrait--what she was like? she asks. Sort of fetching, like her picture, says Charity--he went around telling everyone he was trying to save her soul. I'm sure it was her "soul" he was interested in, comments Judith--he must have spent hours trying to find it. They were a bit "chummy," reveals Charity. That's a quaint way to put it, says Judith. What are you planning to do with the picture? asks Charity. "I'm thinking of hanging it in the master bedroom," says Judith. (on the ceiling, perhaps?) In with you and Mr. Trask? asks Charity, surprised. Why not? asks Judith, Mr. Trask has always taken pride in the souls he's saved--it's only appropriate that the portrait of his latest "achievement" should hang on their wall--"You see what a devoted wife I am?" I see what a smart one you are, says Charity, and am getting to like you more every day.[/spoiler]
Barnabas returns to Collinwood. Julia meets him in the foyer and tells him she has been reading THE LYCANTHROPE OF ANGIERS--I figure I should do some werewolf research, she explains, before I begin working on Chris--I have learned there are two schools of thought on werewolves--that a man becomes a wolf, or that it's a mental disease, and he only behaves like a wolf. We know it's not the latter with Chris, says Barnabas--we've seen the animal he becomes. Julia has found two ways someone becomes a werewolf--if bitten by another werewolf and survives, or if part of a curse. It must be a curse, says Barn--Chris would surely have known if he was bitten. Julia takes the book to continue studying before bed, and bids Barnabas good night.[/spoiler]
"You're angry," she says, and he says, "You--you made me come here." He doesn't understand her power, but she says there's no need for him to. It's wrong meeting her, she's married to Roger, but she says they aren't doing anything wrong. She demands he look at her, and reluctantly, he finally does. "You will do anything I ask," she demands, "anything, but you will not remember what I have told you or what you must do."[/spoiler](http://www.dsboards.com/epimgs/0481-3.jpg)He agrees.
[/spoiler](http://www.dsboards.com/epimgs/0230-3.jpg)Barnabas grills Willie--how did he know people were coming to search for Maggie, and how did they know where to look? Willie denies giving them any information, but Barnabas doesn't believe him; he lifts his cane high and brings it down on Willie, who cries out in agony.
Evans cottage - We hear a car pull up. Sam and Roger enter the house. I didn't invite him to sit down! Sam argues with Roger. Then why didn't you stand up and walk away? asks Roger, irritated. It would have made me look too suspicious, insists Sam, taking off his coat. It was all very embarrassing, complains Roger. I'm sorry, says Sam, I didn't even know he was there--I thought he was being very clever, but I must say you topped him beautifully. You can save the applause and tell me what it is you brought me here for, says Roger. Well, in the first place, I want to know just where we stand as far as your wife is concerned. It's very simple, says Roger--Laura has no idea of getting involved in any investigation of that accident, says Roger--she has too much to lose--David. That's good, says Sam--then we're in pretty good shape, eh?[/spoiler]
"David?" Carolyn asks, stunned. She doesn't believe it. Vicki rises and says she had better... Carolyn interrupts incredulously: "Vicki, you're talking about a kid tampering with the brakes on his own father's, car!" "I know!" Vicki says. "But David," Carolyn counters--"He's only nine years old." Vicki realizes that, but it doesn't change the facts--David must have snuck into the car, found the wrench, took out the valve, and left it on the front seat, just as Devlin found it. "How could you know?" Carolyn persists. "Because David didn't throw the valve away," Vicki explains. "I found it in his dresser drawer less than an hour ago."[/spoiler]
In Collinwood's drawing room, Quentin comes in, offering the brooding Barnabas a penny for his thoughts. Jamison's dream, says Barn. Aren't you disturbed by that silver bullet? Asks Quentin. I have no explanation for that, says Barnabas. I believe someone knows what has happened and has joined the hunt, says Q--someone is planning to kill me, and I think you know who it is.[/spoiler](http://www.dsboards.com/epimgs/0768-1.jpg)Quentin finds his cousin's silence disturbing. Don't' jump to conclusions, advises Barn. Quentin holds up the silver bullet--for a werewolf--and wonders, who knows enough to have one made?--a few names come to mind, and yours is one of them--it's interesting that this bullet was found so soon after you concerned yourself with my situation. I'm only trying to help you says Barn, probably fed up with his cousin's suspicions by now. Quentin grins--if that's true, he asks, where did the bullet come from--who had it made? I don't know, says Barn--the bullet wasn't used, so we should put it out of our minds. Quentin says, you can convince others to trust you--but not me!--there are answers I must know, I can't forget the bullet and must find out who is planning to kill me--and kill that person first.
Liz admits Tony to her room. He says he's always on call, like a doctor, and she tells him Richard Garner will no longer handle her legal matters. He'll do whatever he can, he promises, and she says she has some strange requests to make of him. She wants to add to her will, she begins. Her coffin is to be in the center of the room, resting on a marble base--no marble around the coffin, however. The coffin will be specially made, including air vents where her head will lie.[/spoiler](http://www.dsboards.com/epimgs/0577-3.jpg)Tony, writing her wishes down, comments on her unusual requests. She says he agreed to handle her affairs, so. . .inside the coffin will be a buzzer, which, when she presses it, will release the lid of the coffin and also start a bell ringing in the tower, a bell loud enough to be heard in every room of this house. She's finished. He says he's got it all. She wants him to have the changes made as early in the morning as possible--she must have it then.
[/spoiler](http://www.dsboards.com/epimgs/0246-3.jpg)Roger comes in and tells the disbelieving pair that it looks like Liz is getting a divorce--so she can marry Jason! Carolyn is certain Jason is holding something over her mother, probably having to do with that mysterious basement room, so she determines to get the key or break in
Liz imperiously asks her brother if he thinks Carolyn is really interested in this man, and Roger kindly responds that it's her daughter, her problem--he has his own with his son. "Well at least your problems with David won't be financial ones," Liz says pointedly. "Oh, I see," says Roger disgustedly, "now we're going to discuss what happened to my inheritance!" He wanders to the piano, smiling, then faces her. "Well, if you must know, I spent it, but I had fun with my money, Liz, I enjoyed it--can you say the same?" Liz approaches him. "No I can't," she says, "the difference is, I still have some.[/spoiler]
Kendrick, are you sure I can't persuade you to change your mind? asks Julia. Only Melanie could do that, he says--if she sincerely told me she wanted me to stay--but I know she wants to leave Collinwood! What Melanie wants and what is good for her are two different things! says Julia. I'm sorry, says Kendrick, I believe they are one and the same--she must get out of this house!--good night. He leaves. She sits down, dejected, shaking her head--no one wants to listen to me![/spoiler]
all you did was think I was dead--and I very nearly was. I can't believe it, why didn't you write? She asks. I did, from Brazil, Chili--if the letters didn't get here, you can blame the towns I was passing through, he says. There must have been some way to let us know, she says. Not the way I was traveling, he says, no money, no friends--all I could do was try to get through everyday, get enough food for Tad and myself, that's all--there was this one night--I concentrated very hard and tried to reach you--I thought I did--I thought I could make you understand my thoughts. You always fall back on the occult, says Samantha. I thought I had reached you, he insists, that you knew--I wanted to believe that so very much[/spoiler](http://www.dsboards.com/epimgs/1121-1.jpg)--oh, what are we doing, standing here talking like this? What else can we do now? she asks.
Tad looks around and proclaims, "We're alive!" Yes, says an elated Carrie--Daphne kept her promise, I can't believe it's true! But it is, says Tad. Where are Daphne and Gerard? asks Carrie. I don't know, says Tad. You don't suppose they've gone, do you? asks Carrie, standing, looking around nervously. You do become alarmed so easily, complains Tad. He takes her hands and assures her, Daphne hasn't left us--don't you remember?--she promised she never would. Where is she? asks Carrie--she's our governess, isn't she? You must be more careful than that, warns Tad--she WAS our governess, that was a long, long time ago, in a different life. Yes, you're right, says Carrie, I'm sorry, I mustn't forget that. There are so many things they must get used to, he points out, like these clothes. I'll never get accustomed to these, says Carrie (pointing to her short red dress).[/spoiler]
Cyrus, Alexis and Quentin gaze down at the body of Angelique Collins, a corpse who REALLY looks as if she's asleep, rather than dead. Astonishing! says Cyrus. Dead over six months, yet the body is perfectly preserved, says Quentin--it's impossible--how has it happened?--you're a scientist, Cyrus, explain this. There is no scientific explanation, says Cyrus, no chemical explanation for a body this perfectly preserved. You always shared Angelique's fascination for the occult--is it possible she found some way to survive after death? asks Quentin. I don't know, says Cyrus. Close the coffin, Quentin, says Alexis. Not yet, he says, we can't simply let this matter drop--Angelique is dead, but her body remains perfectly preserved--for the sake of her rest and our peace of mind, the body must be destroyed. Destroyed? asks Alexis--how? I'll have it cremated, says Quentin hesitantly. You can't, insists Alexis, it would be wrong! Cyrus agrees--what's happened here is beyond the realm of human understanding, and the only thing to do is destroy the body. Angry, Alexis says, I won't allow it[/spoiler]
Bruno quotes, "Even the pure of heart who say their prayers at night" poem. Nicholas' eyes widen and he grins--the werewolf?--isn't that interesting? I thought that would please you, says Bruno. I think you might have found a way for him to redeem yourself, says Nicholas--the moon will be full tomorrow night, if we can get Chris here then, we can put his talents to very good use--haven't you begun to wonder how Jeb is managing to stay alive? He won't be alive long, says Bruno--Angelique is seeing to that. I don't want her to see to it! protests Nicholas angrily--I want to get him!--I believe his marriage to Carolyn is providing Jeb with the will to live, and if anything happened to her, Jeb would lose that, right? Yes, agrees Bruno. We must move quickly, says Nicholas--my mission here has been a failure (again?) and if I can dispose of Jeb, I'll have salvaged something--if Angelique gets him first, it's all over for me. He gives Bruno his instructions...[/spoiler]
Midnight - Charity tells Kitty, we will have a seance--it's the only way. On the upstairs landing, Edward asks, what's the only way? A seance, she explains, do you mind if we invite a few spirits? He does, but Kitty says I'm the one who wants to do this; I must learn what's happening--please don't stop this. I want to join the seance, says Edward--I've been through this much with you and it's affected me nearly as much as it has you--I will take part, he tells Charity. They go into the drawing room.[/spoiler]
The kids have slipped into the clothing that was in the trunk. Amy tells David he looks grown-up, and he asks, "Like Quentin?" Yes, she says. He asks her to call him Quentin, and she says to call her Beth. They can pretend this is their room. It is, says David, don't you remember --Beth? Yes, Quentin, she responds. We must keep it a secret, warns David,[/spoiler]
Maggie's head tips to one side; the room is once again normally lighted. Maggie comes to, Nick's hand on her face. He's holding her hand, and asks if she's all right. I don't understand, she murmurs, I must have fainted--I can breathe all right now. I was frightened, she admits. Nicholas holds her close. I don't know why I'm here, she says, but he kisses her forehead and assures her she will be all right.[/spoiler]
With Peter gone, Joshua brings Ben to the mausoleum. Some people have seen Barnabas in the woods, says Joshua. Impossible! Says Ben. I agree, says Joshua, but there must be some explanation[/spoiler]
At the Old House, the object of their concern is sitting across from Barnabas Collins at the elegantly set table. As Willie lights the candles, he asks Barnabas why he keeps calling her Josette. Hell, that's her name, Barnabas asserts, and that's the only name by which Willie must address her--"Miss Josette." Barnabas talks to Maggie, calling her Josette over and over, reminding her of her impeccable taste, how they always used to dine together by candlelight,...[/spoiler]
It's so close to remembering, I can almost grasp it! says Liz. You might never remember that image that's glimmering in your mind, says Laura. I will! Says Liz. Some things are best forgotten, best left unspoken, says Laura. I have to remember! gasps Liz, I know it's important! You must forget, insists Laura. No, I'll remember, says Liz.[/spoiler](http://www.dsboards.com/epimgs/0158-3.jpg)Memories are very hazy, says Laura. Everything seems to be fading, says Liz. Memories are elusive, disappearing into the fog, says Laura, in a hypnotizing voice--a fog that envelops everything! What's happening to me, says Liz, sinking to the pillows. Time is stopping for you, says Laura, coming to a halt--not future, no past--only the nothingness of being in limbo. Liz, eyes wide, stares at Laura.
"You think my Uncle Roger lost it there--you think he killed Bill Malloy." Her voice rises with anger, and Garner pays close attention. I don't think anything, Patterson assures her, I'm just trying to collect information. Did Vicki come to you with this wild story? asks Carolyn. She didn't come to me with a wild story, she came to me with what she knew, says Patterson. She doesn't KNOW Uncle Roger killed Bill Malloy or anyone else! insists Carolyn. And she didn't say that he did, says Patterson. She must have implied it! wails Carolyn, or why are you holding Uncle Roger? We're only holding him for questioning, so far, says Patterson. That must have been because of what Vicki told you, says Carolyn--she must have a grudge against Uncle Roger--she has no reason to say Uncle Roger or anybody else killed Bill Malloy! She has a very good reason--someone tried to kill her last night, he says--someone tried to run her down on the road from Collinsport. What? she asks, stunned.[/spoiler]
Beth comes downstairs. She tells Judith Jenny put the "babies" back to sleep. Judith calls Beth a fool--we are all turning as mad as she is--those aren't babies, but breakable dolls--she's had dozens of them, and can't tell the difference between them. She can't tell the difference between anything anymore, rants Judith, including life and death--and I won't have it, not now that all this is mine. I said nothing against you, insists Beth, she just happened to find you there--all Jenny is afraid of is that you'll take her babies away. Beth, she must go, insists Judith. She has no where to go, says Beth, and you know that. Rachel is beginning to suspect more than she should, says Judith, and mustn't know about Jenny--nobody must. Beth heads back upstairs.[/spoiler]
Hoffman and Stokes will be waiting for him, wondering why he's so long. Angelique doesn't care. What can I tell them? asks Barnabas Tell them anything, she suggests--tell them the truth. Barnabas can't do that--what can I say? I'll leave it up to you, she says. They'll be suspicious, he reminds her. You must end their suspicions, she instructs him. Yes, but it won't be easy, he says. She says that Stokes and Julia already suspect too much--he must end that, and she's sure he'll find a way. "You may leave me now--temporarily." He gives her a look of hatred as he starts to leave, and she repeats her orders about Stokes and Julia. Yes, he says. "I release you," she tells him. "You may go." Giving her another look of hatred, he limps away, and she looks after him, a woman in lust with her victim.[/spoiler]
Hospital room - Maggie lies in a bed, unconscious. Sam asks Woodard how long she'll be like this. When Joe arrives and touches her, Maggie jumps with fear. She must have been terrorized by someone, theorizes Woodard. Sam explain how and why he came to find Maggie-Sarah. Maggie mutters the little girl's name.[/spoiler]
Burke leads David into his hotel room and locks the door. He checks the kitchen and bedroom, making sure they're alone. OK, he says, now, what's on your mind? Is it true you want to take Collinwood and everything away from my Aunt Elizabeth? asks David (such a pathetic face)! Who on earth told you that? asks Burke. That's what she said, David tells him--you said you wanted to get it in any way you could--and that I wasn't to see you ever again. Burke leans down and asks him if she said he offered to buy it--did she say that? All she said was I could never could see you again, because you wanted to get it in any way you could, says David. Ah, Davy, says Burke, his hands on the boy's shoulders, sit down. They sit on the sofa and Burke reminds him of the last time he was here--you suggested that I buy it then, remember, so we could have fun? And SHE thinks you're doing it just to be mean! says David, vastly relieved. (Ah, innocence!)[/spoiler]
The blonde woman enters and sits at the counter. Hello! Says Maggie--menu? No, just coffee, please, the woman says. Maggie pours her a cup and asks how she is today. Fine, thank you, the blonde replies. You must have heard about Matthew Morgan, says Maggie. No, I haven't, the woman says. They got him last night, says Maggie--he was dead. Oh? asks the woman. Yeah, they found him that way, says Maggie, continuing to fill the sugar canisters--of a heart attack--so they say. So they say? asks the woman. Some people say he died of fright, says Maggie. What was he frightened of? asks the woman. As far-fetched as it may sound, he saw the ghost of Josette Collins, Maggie tells her.[/spoiler](http://www.dsboards.com/epimgs/0128-1.jpg)The woman looks scared.
Sarah appears in Maggie's cell, playing "London Bridge" on a flute. Don't cry, says Sarah--I'll let you keep my doll. Realizing Sarah is real, Maggie begs her to go to Sam Evans, her father, and tell him she's here. Sarah assures Maggie she doesn't want her to die. Tell me how to get out of this cell, pleads Maggie, and Sarah tells her a riddle that will show her how-[/spoiler](http://www.dsboards.com/epimgs/0260-2.jpg)
In her old servant's room, Angelique constructs a house of Tarot cards, ordering them to do her bidding.[/spoiler]
[/spoiler](http://www.dsboards.com/epimgs/0480-3.jpg)Jeff tells her to go to the lab on the second floor--she'll know he's telling the truth. She promises to do so. Now that she's cooperated with him, he must return the favor. She sits back down and begins doing the ol' medallion-twirl on him. "Find the center." He stares, searching for the center of the light, and does. Julia tells him that, when she snaps her fingers, he'll sleep, and when he wakes up, he won't remember anything that happened there tonight--just finding his belongings and falling asleep. "Yes," he says. She snaps, his head falls to one side. Julia thinks that Jeff must be mad, what he said was impossible. The lab. . .she gets up and leaves the room.
649[/spoiler]
Madame Findley, very excited, has entered the storage room in the West Wing. She spots the opening in the panel the kids made and crawls inside. Something pushes her. "You're here, aren't you?" she demands--"I can tell your presence!" The door bangs closed behind her, locking her in. David and Amy enter the other room and hear her say, "You won't frighten me, I want to help you!" David covers the open panel with a trunk and the kids gaze at it.But David and Amy aren't in Ep #649 so none of their part is recreated - the teaser is strictly Madame Findley. And in the recreated part, after Madame Findley has entered the storage room, the line she delivered in Ep #648, "Yes. Oh, Yes," is dropped in favor of her going right to discovering the opening in the wall and entering Quentin's room. However, once inside she doesn't repeat the lines, "You're here, aren't you?" and "Yes, I can tell your presence!" Instead she says "I can sense your presence. Someone, now dead, lived in this room. Who are you? Who are you?! Why..." And at that point the door slams shut. But unlike how that happened previously, we don't see Madame Findley say, "You won't frighten me, I want to help you!" as David and Amy heard her say. Instead after finding the door locked and as she moves to back up against the fireplace, she says, "Whoever you are, you're trying to keep me here! Why?! Why do you haunt this house?" She begins to look around the room as she asks, "What do you want? Who are you? Who?!" She then laughs and delivers the quote, after which she is excited when the gramophone begins to play...
Josette's room at Collinwood - Natalie enters and assures Barnabas Josette is safe--I found her at Widows' Hill--if you had gone to her, says Natalie, she'd have run from you, and died. I know, says Barnabas. The witch showed Josette a vision of herself as she would be if she went with you, reveals Natalie. "How she must loathe me," laments Barnabas.[/spoiler]
I suppose you're wondering about the boy and why he did what he did, says Philip. Yes, says Maggie, I am thinking about him. Understand, he's not like other children, says Philip--since his parents were killed in the accident, he's been angry all the time, angry at the world--he wants to strike out at anyone because of what happened to him. And I just happened to be there, says Maggie. Yes, says Philip, I'm sorry.[/spoiler]
Angelique's face segues into that of her portrait. I don't know why you pay any attention to what Barnabas Collins said, says Hoffman--Maggie left of her own free will--of course I don't deny we encouraged her departure, but we didn't hurt her--it's not as if we have her hidden away somewhere. Angelique grins. Why are you smiling? asks Hoffman. No reason, the other woman replies. Back in RT, Julia opens the double doors and listens to the two women, one of whom it her exact double. You know where she is, don't you? ask Hoffman. Yes, replies Angelique, I know where she is, and will tell you all about it later--but I'm concerned about Barnabas right now--he's the only one who can ruin all our plans, Barnabas Collins must be destroyed. "Destroyed?" cries RT Julia. "Barnabas, no! No!".[/spoiler]
That's the next clue, says Barn--the unfinished horoscope. I saw the finished chart in Liz' room, says Q. No disaster was mentioned? asks Barnabas. Completely the opposite, says Quentin, it states that Collinwood is to come under a siege of unrelieved tranquility. It must be unfinished, says Barnabas--where is Elizabeth? She went to Portland for a day or two, answers Quentin. I wish she were here, frets Barnabas, I want to tell her there's danger for the entire house.[/spoiler](http://www.dsboards.com/epimgs/1075-5.jpg)(http://www.dsboards.com/epimgs/1075-6.jpg)She would probably disregard the horoscope as having anything to do with the sun and the moon, predicts Quentin, and she'd also say it's not unfinished, it's absolutely complete. Then something must happen to Hallie, David or somebody else before she'll even listen, says Barn.
What did you say your name was? asks Judge Vail. Joanna Mills, the dark-haired woman replies. Step forward to the bench, urges the judge. This is some gigantic hoax! Pronounces Dawson. Barnabas leans forward and asks Quentin, is this Joanna? I don't believe it but yes, it is, he says. My name has been mentioned in this trial, says Joanna, that's why I'm here to give testimony. I ask the court not to allow this woman to take the stand, demands Dawson. Why? the judge asks. On the grounds that she cannot possibly be Joanna Mills, says Dawson--that woman is dead, I have offered into testimony the transcript of her death certificate--this woman is an impostor! Wait a minute, orders Vail, banging his gavel, you have introduced into evidence a death certificate, but it can't possibly be the death certificate of this young woman--unless you believe that this woman you see standing before you is dead--is that what you're saying? Of course that's not what I'm saying, says Dawson, irritated. Is counsel willing to admit this woman is alive? Barnabas asks Dawson. Of course I admit that, this is ridiculous, says Dawson. Then the defense urges the court to allow this woman to testify, says Barnabas.[/spoiler]
The clock in the foyer at Collinwood strikes 7 PM. Melanie comes down, calling to her mother and Morgan, but gets no answer. Why do I suddenly feel so cold? she wonders, hugging herself. She goes into the drawing room and screams. Justin's ghost is there. Papa! she cries. "No rest," says Justin--"they will not let me rest!" Oh, Papa! wails Melanie. "The room--someone must go into the room!" says Justin. Melanie shakes her head.[/spoiler]
But my father said he was going to send me away! protests David. That's no reason to do what you did! exclaims Burke. I know, says David, it WAS stupid--and he looks very depressed.[/spoiler](http://www.dsboards.com/epimgs/0031-1.jpg)We segue into Roger telling Vicki that it was very stupid not holding onto the valve after she found it in David's room. I thought it would be safe locked in my drawer, says Vicki, I never dreamed David would find another key and get it back. Are you certain that's what happened? queries Roger. I'm getting a little bit tired of people not believing me, says Vicki testily. I'm sorry, Roger says, rising from the chair, clutching the valve--it's not easy to accept the fact that one's own son--and now Devlin tells me he found this valve in the road--I don't know what to think. Vicki says not to think any of this has been easy for her--I know that David is only a boy, and what I've been saying is horrible, but the facts are there--if Mr. Devlin said he found that valve in the road, it must have been where David threw it after he got it out of my drawer. And where Devlin conveniently found it, says Roger--Miss Winters, I... He's interrupted by the phone
We got a shaky shot of the Old House. Vicki, on one of her seemingly endless searches for David, got stuck inside the Old House (I assumed Barnabas did that to see who he'd snared in his web). I loved the way they have fog rolling past outside the windows topping the door, and Barnabas' theme music is excellent and eerie. He, of course, is easily able to open the "locked" door, and then begins to regale Vicki with stories about the building of the Old House,[/spoiler](http://www.dsboards.com/epimgs/0214-1.jpg)comparing it with the pyramids of Egypt (luckily some history with which he IS familiar).
Abigail goes to the Old House and is shocked to see Josette's portrait hanging over the mantle.[/spoiler]
Julia says Cassandra must be responsible for what happened to Liz, given the clue of the 18th century potion. My mother probably took the same, agrees Barnabas. If Cass is still alive, says Julia, why is Trask's skeleton down in the Old House? Barnabas suggests checking with Stokes, he can help them.[/spoiler]
Quentin's music plays in the drawing room; he listens and drinks. Victor, downstairs on the phone, tells whoever he is speaking to, I must see you, Aristede, no matter how late it is--there are certain things you must be apprised of--meet me in an hour, usual place--and don't be late! Victor joins Quentin, remarking, I thought the music indicated a love sick lady. Far preferable to a disillusioned man, says Q.[/spoiler]
It's 10:20 AM, according to the clock on the hospital desk (no desk nurse, however--too expensive to pay an extra). Julia checks the time. Chris comes in. Where did you go when you left Stokes? she asks, I was calling the cottage all night. I was there but had the phone off the hook, says Chris, what's going on? I know why Jenny appeared to you, says Julia--come inside--we've found Quentin Collins, as Jenny said. Looking down at Grant Douglas, Chris says, Impossible--if this were Quentin, he'd be very old--this is a young man. Julia says there's no time to give you explanations, you'll have to take my word--there is a logical reason Quentin looks young.[/spoiler]
Collinwood, drawing room - Barnabas has just read the note Yaeger forced Maggie to write. Are you convinced now she left of her own free will? asks Quentin, taking back the note. No, insists Barnabas. Here's the letter, insists Quentin--she wrote it herself. Isn't it possible, poses Barnabas, that someone could have forced her to write it? Why do you keep insisting, asks Quentin, irritated, despite there being no evidence, that Maggie was kidnapped? Because, says Barnabas, I don't believe she wanted to leave you! And who's the better judge of that, you or I? demands Quentin. Patiently, Barnabas says, I firmly believe something's happened to Maggie, and she might be in great danger. You keep saying that, but you don't have a reason for it, says Quentin. How did Maggie leave? asks Barn--is one of the cars missing? This letter, says Quentin, was mailed from Collinsport, so she must have got there, which means she did get there somehow, and she didn't walk, so she must have some way of getting there.[/spoiler](http://www.dsboards.com/epimgs/1031-1.jpg)It's possible someone was taking her, but not to the place she wanted to go, says Barnabas. Why do you keep insisting that? demands Quentin--who would have done a thing like that to Maggie.
Valerie, sitting by the fire in the Old House, holds up a clay doll--Julia, she says, you will not go now--I know what Barnabas wants you to do--but you mustn't go now, because you're tired, so very tired--you'll sleep--sleep, Julia--she rubs one of Julia's handkerchiefs (conspicuously marked with a J) over the doll's body.[/spoiler]
What's happened? asks Morgan. It's Melanie, explains Julia--Kendrick and I had to lock her in the tower room. She's had another attack? asks Flora. Yes, only this one may be permanent, says Julia--she tried to kill Kendrick with a knife, we got it away from her. Why do you say this might be permanent? asks Flora. After we took her up to the tower room, we went back downstairs--we thought it just another attack--then Kendrick and I saw the ghost of Brutus Collins[/spoiler](http://www.dsboards.com/epimgs/1240-1.jpg)--he was laughing at us, then he spoke, and he said Melanie would never be sane until another Collins goes into the locked room. All of them express dismay. We have no choice, we must do it! cries Julia. We must do this, for Melanie's sake, agrees Morgan. Poor Melanie, laments Flora, she was married only last night--it's almost as if the ghost of Brutus waited for that moment of happiness, then deliberately struck her down--what a cruel and evil man he must have been.
Vicki gazes around the damp brick room into which Matthew has brought her. What is this? she asks. A secret room, he says, nobody knows about it but me--not even Mz. Stoddard--they'll never find me here, nor you either. How long have you been here? asks Vicki. Since the night I ran away, he says, the night you came to my cottage. Vicki gulps--the night you tried to kill me, she says. That night, says Matthew. Then you never left Collinwood, she says. I left, he says, I took my car and drove, I musta drove over a hundred miles. Why did you come back? she asks. I couldn't think of anyplace else to go, he says, besides, this is the last place in the world they'll come lookin' for me.[/spoiler]
Liz has heard about the fight between Burke and Willie at the Blue Whale, and orders Jason to get him out of not just Collinwood, but Collinsport. Aha, but you can't send the boy away without funds, so Jason puts the screws to Liz once again and, after verbally sparring with him in their usual Blackmail Threat of the Day, gets her to agree to give Willie $500 to get him out of Collinsport.[/spoiler]
After Liz asks for the pin and receives it, she asks if he heard what she said about the money? Jason indicates he did but insists. "Insist all you like, the answer is no!" Jason questions why she says that because she knows she's going to give him the money but Liz declares she's not and that's final.though in that explanation I deliberately didn't include that Jason said, "I'm afraid I MUST insist," because I figured that line would come up in the slideshow at some point, as indeed now it has...
Barnabas notices that Peter and Vicki's gravestones are gone, so he realizes he has been successful in returning to the past. Ben comes over to him--I thought you had gone into town to find Forbes, he says. Barnabas remarks, "I have returned on the right night," a statement which Ben finds confusing. Barnabas knows--now I must go to the village to finish what I started. Ben asks Barnabas if he feels all right. I'm going to do something no one else ever has, says Barnabas--change the course of historyBen is further puzzled at this statement--I don't understand a word you're saying.
She hears Adam's chain outside. He moves the rock, opens the door and looks around. Carolyn, hiding behind a wall, tries to crawl quietly out, but he sees and grabs her, toppling her to the ground. He grabs her hair, and she cries that he's hurting her. She begs him to let her go--he's hurting her! "Hurting" repeats Adam, "No hurting, no!" He lets go of her hair. She cries that she wants to go home and begs him. He repeats home, and she screams that he has to stop repeating what she says. He covers her mouth and drags her back into the root cellar, closing the door. He tries to calm her down. She tells him he can't keep her here. The police are looking for her. Doesn't he understand? They'll find them here, arrest him, take him to jail. You don't want to go there, do you? she asks, then realizes he doesn't understand her.[/spoiler](http://www.dsboards.com/epimgs/0505-2.jpg)
Angelique asks if he always enters rooms without knocking, and he tells her it's part of his job.[/spoiler](http://www.dsboards.com/epimgs/0712-1.jpg)He's overseer of the estate. He saw a light, and the cottage isn't supposed to be occupied. Does the family know she's there? Not all the family, she says, and he wants to know who does know--it's part of his job to keep strangers off the estate. She gets into his face and assures him she isn't a stranger. He says she is until he finds out who brought her there. She tells him Quentin asked her to meet him here. "I might have known," says Dirk, annoyance in his voice. No other member of the family would arrange a "meeting" here. He knows Quentin too well, and she asks about him. She's better off not knowing, he insists, by her or any other woman. He ruins everything he touches. She asks Dirk if he isn't taking a chance talking this way in front of her. How does he know she won't tell. Dirk says she can tell him anything he'd like--nothing would please him more. Oh, I see, says Ang. Dirk doesn't think she'll tell. She says he doesn't know her or her life, but he thinks she's very nice, and he advises her to leave this place and never come back. She's flattered and appreciates his concern, but she's going to stay--she must. She's a big girl, he says, and knows what she's doing.
It's Vicki, who explains that there's a curfew in town now, due to the attacks and Maggie's disappearance. He asks about poor Miss Evans in the past tense, which upsets Vicki. She might not be dead, Vicki says--but then again, she might, says Barnabas. "Unless she's being held by a madman," counters Vicki (zing, Barnabas!)[/spoiler]
Carolyn calms down and tells Liz Willie broke into her room; she doesn't know why. Liz locks the window, assuring her he wouldn't get another chance--she's telling Barnabas to send Willie back to Windcliff. He told me he didn't mean any harm, explains Carolyn, he wanted to talk to me--he must be crazy, he kept jabbering about a dream he had and had to tell me about it. He's having hallucinations, says Liz, he told her about some dream, too, at the Old House. Carolyn thinks what scared her the most was the way he spoke of the dream-it must be the most terrifying thing that's ever happened to him--he acted like he had no peace of mind until he talked about the dream. He said Carolyn was the one he had to tell the dream to, which puzzles both women. He took a huge risk, breaking into my room, says Carolyn, yet he did it anyway-why? Willie's mental state, guesses Liz, but Carolyn said he didn't act deranged, just terribly frightened. Carolyn thinks Willie really did have this dream and for some reason, she is the only person he could tell about it.[/spoiler](http://www.dsboards.com/epimgs/0506-4.jpg)Liz doesn't believe this, and tells Carolyn to go to sleep. No, says Carolyn, she's afraid. No one can get in, Liz assures her. But it's the dream that is scaring Carolyn-if she goes to sleep now, she'll have the dream Willie was telling her, and if she does, she's afraid she'll die!
Quentin suggests they imagined Angelique. I didn't imagine being helpless and speechless, says Evan. If she sees something, says Quentin--how did she know about my women? "Perhaps just by looking at you," says Evan sarcastically--or perhaps she knows more about all of them than she's telling. Yet we know nothing about her, says Quentin. Evan suggests they fight Barnabas without her--send her back to the dark hell she came from!--we must try, before things get worse. Quentin says there's no way to send her back, and they know it, not for them, not against her--whatever reason she's come here, wherever she is right now, our Angelique, our ally, our beautiful black-hearted child of the angels, is planning to stay. Angelique's laughter fills the cottage and both men stand, staring around them, scared as hell.[/spoiler]
At the Old House, Carolyn tells Barn she can't stay long, and he's annoyed--she promised to help him. Now he needs her. . .it never worked with Vicki, he says, and he doesn't know why. Maybe he does know--the picture told him. There's a spell working on him, using Vicki to fight him. Carolyn is confused. Barnabas can't explain, he knows she's anxious to go on her date. She assures him she'll do anything for him--she came here, didn't she? Yes, says Barnabas, pleased, grateful. They must do something for Vicki immediately--the witch must be burned, says Barn. What witch? asks Carolyn, and he tells her the woman in the picture is the witch. She giggles, and he isn't happy. A picture can't fight you, chuckles Carolyn--a witch can't be bought in an antique shop. He'll deal with that himself, tonight, he says.[/spoiler]
Judith figures the mysterious woman might have returned to her home, so she walks the corridor outside the tower room and goes in. "You are in this room, aren't you?" she asks. The door slams shut.[/spoiler]
Rose Cottage - Desmond sits at a desk, writing. Leticia runs in--I just answered the door, she says--a constable handed me this--she gives it to him. It's a subpoena, he says, you're to be called today as a witness. For the prosecution, she says--why did they call me? They must think you know something that can hurt Quentin's case, says Desmond nervously--what could it be?--oh, no, it couldn't be, they have no way of knowing... About what, luv? she asks. Judah Zachary, he says. I would never tell them about that, she says--eight policemen couldn't force me to do it, I swear[/spoiler]
At the lab, Sabrina removes her lab coat and heads upstairs. The back door opens. Yaeger, whistling very close by, leaps inside--the antidote, I must have it. . .the police will track me here--I must be Cyrus Longworth again! He reaches into the safe and is about to drink the potion when Quentin enters the lab. Yaeger? he calls. Ah, Mr. Collins, Yaeger replies in a friendly voice. So you're Yaeger, says Quentin. At your service, sir, says Yaeger grandly.[/spoiler]
Carolyn comes out of the kitchen and starts in when Liz returns home--were you brilliant, Mother, cold as only you can be, did you listen to him at all, Mother? I listened, Liz insists. Why didn't you bring him back here? demands Carolyn--that was what he wanted! You don't know your father, says Liz, I do. I KNOW him, says Carolyn, you KNEW him, that's the difference. You're being very difficult, says Liz--I was always grateful you never had to see your father while you were growing up. Well I wasn't! cries Carolyn. He was a very complex man, says Liz, not to be trusted. I do trust him, insists Carolyn. I order you not to see him again, says Liz. Carolyn won't hear of it.[/spoiler](http://www.dsboards.com/epimgs/0899-4.jpg)You must not, says Liz says--I forbid it. "He is my father," says Carolyn, as if that explains all.
Judith, in the foyer, admires the big, fat wedding ring on her finger. I can't believe it, she says. You will, promises Trask. It's wrong to feel the way I do, says Judith. You will become accustomed to happiness, Trask assures her. He looks around the drawing room. We must do something about the room, he says, get rid of its frivolous air--you don't want anyone to think us frivolous. No, she says, but many of them are keepsakes from the family. We won't make changes quickly, he says.[/spoiler]
Chris, in severe pain from the oncoming transformation, tries to leave the cottage, but Maggie arrives at the cottage, preventing his departure. He hugs the wall, asking who it is. It's about Amy, says Maggie. Chris is trapped![/spoiler]
Maggie begs Chris to open the door, which he finally does. He tells her he's fine. We've been trying to phone you, she says. I must not have heard the phone, says Chris nervously.
Vicki lies on the bed, sobbing. The door opens and Angelique, dressed in 18th century garb, enters the room. "So we meet again," says Ang. You aren't real, assets Vicki. Ang assures her she is quite real. It isn't possible, you're dead, protests Vicki. Ang giggles--she isn't a ghost, and asks Vicki to touch her and prove she's made of flesh and blood. She takes Vicki's hand, proving her ghost is flesh and blood. You are real, says Vicki, but you died in 1795--is it possible?--have I gone back in time again and am living in 1795. It's possible, says Ang, and might be true. Ang can't tell Vicki why she's there or who is keeping her.[/spoiler]
Millicent complains her headache is worse. She sees the light in the tower, and she asks if he sees it. He says no, and he will spend the rest of his life trying to understand her mind. Who lives up there? Nathan asks her. She should go up there and find out, he says slyly--face the reality. She couldn't, she says. There is no light in the tower, he insists, and she must check it out for her own good. She'd be afraid, but he says she must conquer her fear-for their lives. He refuses to go with her. She refuses to go. He says she made him so many promises, how can she be afraid to walk upstairs to a place she lives in? Even though she still sees the light, Millicent claims she doesn't see it anymore. He accuses her of telling him her first lie--she still sees the light, admit itYes, she cries, she does see it, but she doesn't want to find out what's there.
Collinwood, Julia's room - Barnabas tells Julia Woodard must die--and SHE must help him do it! When she steadfastly refuses to kill her friend (or former friend, as Barnabas so cruelly points out), the vampire promises Woodard an agonizing slow death at his own hands. Which way does Julia want it?[/spoiler]
Hey, what's this? she asks--I've never seen this before-is this the painting you started last night? This brings Sam to full, open-eyed consciousness. He asks if he was painting last night. Don't you remember? asks Maggie. No, he says. You were determined to paint last night, she says, I couldn't talk you out of it--this must be what you started--doesn't look like your style, though, I've never seen you paint like this before. Sam looks perturbed. Let's see it, he says, and stands beside her. Now do you remember it? asks Maggie. No, says Sam. It looks like a woman standing in fire, remarks Maggie. I don't like it, says Sam, turning away from the painting. There's something about this painting that gives me the creeps, says Maggie--such wild colors, and what a subject for a painting--a woman in flames--Pop, I can't imagine what was going on in your head. Sam rubs his throat and asks for the coffee. OK, she says, and goes to get some. Sam looks at the painting, removing it from the easel.[/spoiler](http://www.dsboards.com/epimgs/0129-4.jpg)We see it for the first time--what appears to be an abstract of a woman, arms upraised, burning in fire!
He folds up the paper and goes to answer the phone. It's Burke, asking for Vicki. It's for you, says Roger, scowling. Vicki takes the phone. Hello, she says. Burke asks her to come to his hotel room this morning. I'm not sure, she says. It's very important, he tells her, vitally important. In that case, all right, she says. I'll be waiting for you, he says. Goodbye, she says, and hangs up. What did Devlin want? asks Roger--do you think I didn't recognize his voice?--what are you conspiring about now? We're not conspiring about anything, says Vicki. What did he want? asks Roger. I think he just wanted to see me, she says--I imagine he heard what happened with Matthew and me. He can get a full account of that in the local paper, says Roger--he must want something else from you--what? I don't know what he wants, he didn't say, she says. I suppose I can't stop you from seeing him, says Roger, but I'll tell you this much, Vicki--this man is trying to destroy this family--he is our enemy[/spoiler](http://www.dsboards.com/epimgs/0114-0.jpg)--and as long as you continue to see him, I must regard you as our enemy also. (Ouch!)
the boy is cruel! He is a true Leviathan, says Oberon, he carries in his mind and heart what we believe--you are just an outsider who must constantly prove yourself, because you will never be above suspicion. What are you saying? asks Barnabas. "Will you deal with Julia Hoffman?" demands Oberon. "No," says Barnabas firmly. I ask you to reconsider, says Oberon. "I will not--nothing will make me change my mind!" says Barnabas. Suppose we find out, says Oberon, laughing cruelly. Barnabas' forehead wrinkles in confusion and dismay.[/spoiler]
it needs to be pointed out that the Leviathan who comes to Barnabas in this ep is not Oberon but one named Adlar. That is why Barnabas asks him who he is after he sees him. Barnabas has already interacted with Oberon in the flesh and in dreams and would have recognized him. However, in Robin's defense, nowhere in the ep does Adlar identify himself, plus the credits for the ep were too short to list him. We only know what the Leviathan's name is because it's listed in the DS Program Guide and as part of lists of characters/actors in various PomPress books...
Collinwood - Quentin, drinking, listens to his music in the drawing room. Magda enters. Ah, the gypsy back from her mission of mercy, he says--come in and shut the doors. She does so. You must speak softly, he warns, these walls have ears, and what you have to say must be heard by no one else. He turns off the music. What do you have for me? he asks. Magda doesn't reply. Cruel to the end, accuses Quentin[/spoiler]
Barnabas tells Lang his visitor was Angelique--she turned Ben mute and tried to give him a similar attack. Lang agrees he must accept this[/spoiler]
Jason tells Willie that he'll take him up to his room now, before anyone else sees him. Yeah, you can tuck me in, too, remarks Willie, grinning, holding his seabag, laughing. Jason opens the doors and finds Liz standing there--she wants to speak to him. Jason introduces Liz to Willie, but she ignores the latter and angrily tells Jason she must speak to him right now. She enters the room and Jason sends Willie to the study down the hall--he'll meet him there later.[/spoiler]
"All right, Roger," Burke says, "I've had enough of this." "Why?" asks Roger superciliously, "did you remember something?" Again he asks Vicki the last time she saw Burke, and she says in his garage. Burke, exasperated, says again he was looking over Roger's car, deciding if he should buy one like it. LOOKING at it, not tampering with it. Roger says the valve could have been removed with a pair of pliers--or a wrench. Roger asks Vicki if Burke had any tools in his hand. He did, right, a wrench? Yes, Vicki says. Burke again denies accusations of tampering--he found the wrench on the front sear of the Mustang, and he asks Vicki if he didn't tell her that. Vicki agrees. He was merely looking over the upholstery and dashboard; when Vicki came along and he threw it on the workbench. Roger protests that he drove the car earlier--there was no wrench on the front seat! "Then someone must have put it there!" barks Burke. He again asks Vicki if she saw him fool with the brakes, and she shakes her head and says no. She also agrees that she didn't see him do anything with the wrench beside hold it and toss it aside. "Of course she didn't," Roger says, "by the time she arrived, you were already through!" Burke: "Miss Winters, get him out of here!"[/spoiler]
What about Melanie? asks Kendrick--don't you care about her? I took her into consideration, Morgan assures him--the prophecy said she would remain insane until someone went into that room, and someone has. I was the one picked to go into the room! shouts Kendrick. It makes no difference who goes in, says Morgan--Brutus only wants a sacrificial lamb--a family member--and Bramwell is eminently more qualified than you. I will hold you responsible if Melanie isn't well when the night is over! vows Kendrick. Are you threatening me? demands Morgan. No, promising you, says Kendrick. How dare you, says Morgan, advancing on Kendrick.[/spoiler](http://www.dsboards.com/epimgs/1243-1.jpg)Stop it, orders Julia, getting between and separating them--we have a whole night to get through, we must not fight. Quite "wite," Julia, says Morgan there's no point in that.
Speak to each of us separately, Quentin suggests. Samantha thanks him, and says she'll speak to Gerard alone for a minute. Quentin says he understands; he will be waiting in their bedroom upstairs. He leaves, closing the door behind him. Sam tells Gerard this has been the most painful and difficult decision she's ever had to make. I'm quite aware of that fact, he says, I don't envy the choice you have to make. She says she believes he knew from the beginning, didn't he? Yes, he says reluctantly. She says he knew, as she did--it was only a matter of facing up to the realities of the situation.[/spoiler](http://www.dsboards.com/epimgs/1128-1.jpg)Well it's done and you mustn't regret what you've done, he says, assuming he is not the Chosen One--we've actually know each other for such a little time.
Cemetery - Gerard's grave. "In darkness he did live and die." David reads his epitaph aloud and wonders what it means. Hallie neither knows nor wants to--I want to get this over with and go home! It isn't 12 yet--we must do it at the stroke of midnight, says David. What about the fenced-in area? asks Hallie. He points to the gate, which has been locked more than 100 years--during the 18th and 19th centuries, he explains, they used to bury criminals and misfits here--most of the graves are unmarked, and there are a lot of legends about them. What sort of legends? she asks. (Sure, David, that's what she needs--to be terrified even more!) About how cruel and mean they were, says David--they must have been, in order to have been buried there--the story is that their souls had no place to go, they weren't wanted in heaven or hell, so they were left to molder in their graves and try to come back from death. Understandably, Hallie says she doesn't want to stay here anymore; it's almost 12.[/spoiler]
Trask comes down and reports to Quentin--Amy doesn't seem to be upstairs. I told you not to leave her alone! Quentin reminds him angrily. She must be here somewhere, says Trask, I'll go upstairs and search further.[/spoiler]
if you do your part--tomorrow night the moon will be full--You didn't expect me to forget what you become? Chris rises from the chair and takes a few steps--Bruno, he asks, what do you want from me? I request the pleasure of your company for what remains of this fast-diminishing night, says Bruno--until dusk--we will spend the day together, and tomorrow night, when the moon rises... "What are you going to do to me?" demands Chris. I have an enemy who shouldn't be alive any longer, says Bruno, but love is keeping his will to live strong--we must change that--we must destroy the person who keeps him alive![/spoiler]
You do make me feel young, she says--the others make me feel like apiece of paper about to be blown away--you're getting what you deserve, she says, every one of you will, except Edward--he's the oldest and must be told the secret--he must return soon, and I must live to tell him the secret. Quentin begs her, wide-eyed, to tell him, leaning in close. No, she says--I think I hear him, someone is coming.[/spoiler]
Julia assures Barnabas that Chris is alive, but barely. They can't imagine what happened to him, and it surely isn't connected to his becoming a werewolf. Barnabas finds the empty whiskey bottle and sniffs it. There's something in it, he tells Julia (good nose!) She smells it--strychnine, she pronounces--I have to get some atropine, she says. Barn wants to take Chris to a hospital, but she asks if he thinks it's wise to involve the police. Barnabas agrees not. Julia will call Windcliff and have the necessary antidote sent ASAP. Barnabas kneels beside Chris and says, "I don't blame you. How often such a short time ago, I would sit in the Old House and doubt I'd have the strength to get through another night, and wonder if it wasn't best to die now." Chris begins to moan. He's coming to, says Barnabas. Julia reaches Windcliff. Barnabas says they must save him, not just for their sakes, but for Amy's.[/spoiler]
Angelique is horrified to see what Joe has done to himself. He lies on the floor, grunting in pain. She starts to remove the letter opener, but he insists he wants to die. So many rules, he moans, forgotten, broken, once I started I could never go back, never! Joe's hand is covered with his blood. Let me die! He begs Unsure of what to do, Angelique calls to Nicholas, then Joe, begging him to get up and out of here. (she is some piece of work, isn't she?) Joe is unresponsive. Panicked, she closes the doors and goes to the window, where she summons Barnabas. Come to me, she says, you must.[/spoiler]
Andre comes in and tells his son-in-law that Barnabas wishes to see him. Jeremiah is reluctant, but Andre says he must--settle it without violence, perhaps, so the men can live without each other's friendship. Jeremiah refuses to go, but Josette begs him to let their lives together be their punishment, not his death (how depressing is that)?[/spoiler]
Sarah finally appears to David in the secret room. He's mad at her for leaving him there, and for not telling him how to get out.[/spoiler](http://www.dsboards.com/epimgs/0315-4.jpg)He had to hide from Willie and Barnabas, who also know about this room, in the coffin. She explains the way to get out, but warns him that he still must keep quiet about the secret room.
You really do stump me, she says--I don't know how you can be so kind and complimentary one minute, and the next do everything you can to thwart me--after all, what am I?--only a woman who wants nothing more out of life than to get her son. Why are you so desperate to have him back? asks Peter. Oh, Dr. Guthrie, really, she says--even a parapsychologist should know enough about human psychology to realize that maternal instincts are the strongest in the world. IN the world, yes, he says. Must you always be so cryptic? she asks. Aren't you surprised to see me up and around? he asks. Why should I be? she asks. Isn't that why you came up here to the house? he asks. She blows out a plume of smoke. I'm afraid I don't know what you mean, she says, you're getting too complicated for me. Complicated things are sometimes the most fascinating, he says, for instance, you.[/spoiler]
Is this the pen you're talking about? asks Burke. Where did you get it, says Roger, looking pale. I don't think that matters, says Burke. Is that the pen you lost? asks Liz. It couldn't be, insists Roger. (Because you buried it.) Why? asks Burke. I mean, it certainly resembles it, fumbles Roger, no I don't think it could be the same pen--I didn't look at it that closely, I certainly couldn't remember every single detail of a pen. Why not? asks Burke, you had plenty of time to look at it when you took it from Carolyn--when you STOLE it from Vicki. Roger asks to see it, and Burke hands it to him--no, I don't think this is the pen at all, says Roger, it's true, the resemblance was merely superficial. May I have the pen back, please? asks Burke, taking it back--I'm sure Carolyn's memory will be better than yours, I know Vicki's will. Liz, who has been staring at her brother all this time, insists that they won't disturb either girl now. That won't be necessary, agrees Patterson, but I'd appreciate it if both of them would come to my office first thing tomorrow, I'd like to see if they can make a positive identification. What good would that do? demands Roger--there must be thousands of pens like that! Not in this country, says Burke, this is the only one of its kind. Would you see to it that your daughter and Miss Winters come down to my office first thing tomorrow? Patterson asks Liz. Of course, she promises.[/spoiler]
I have no family, no one to help me, says Rachel--Tim is marrying Charity, and Barnabas is marrying Angelique. Magda looks at Rachel's palm. Oh, no! she says--when I read it before, I told you you had an enemy--the enemy is still here, but closer, like a shadow of death behind you--you must go, fast, says Magda, I have an idea, but you must be brave, or you will die.[/spoiler]
I have marvelous news, says Adam, my surprise is going to happen. She's ecstatic to learn they're leaving the house. She asks about Nicholas, but Adam says he won't know. Do you have a plan? asks Eve, excited--do you have money? Is the trip all arranged? She's touching him, telling him they must be very clever and avoid Nicholas finding them, ever.[/spoiler]
Barnabas insists to Willie that Sarah wouldn't betray him, and wants to go to Sarah's grave to see if she can sense his need for him, and thus appear to him.[/spoiler]
But the circumstances surrounding the quote begin with Willie turning in Barnabas' direction and remarking that he hasn't said anything for a long time. Barnabas then does indeed insist that Sarah wouldn't betray him she couldn't. And after pausing, Barnabas delivers the quote (Barnabas - 'It's dark now. Come, we MUST go out') as he walks toward Willie, who is still lighting the candelabra. Willie asks with surprise, "Out? Where?" Barnabas says to search for her, to find her. Willie wonders if Barnabas might know where she is? Barnabas replies her knows a logical place to find her. And after Willie asks where, Barnabas says her final resting place, her grave. Willie then says, "The Collins Tomb," with a touch of fright, to which Barnabas replies, "Yes." As Willie helps Barnabas put on his cape, he points out that they've looked there before but she wasn't there. Barnabas hopes, "Perhaps tonight she will sense my need for her and come to me."After that Willie asks if they have to go there tonight, to which Barnabas replies with the quote. And after adding, "Come," Barnabas makes his way to the door to leave. Willie follows behind, grabbing his jacket from the coat rack as he passes by and as Barnabas opens the door. They exit...
Vicki and Carolyn go into the drawing room. How could we know what he was thinking? asks Carolyn, but if Uncle Roger took off when you mentioned this Burke Devlin's name, he must have had a good reason. Vicki closes the double doors. He knows what he's doing, says Carolyn, he can take care of himself--I'm not worried about him, she adds confidently. Vicki says he seemed frightened, she never saw a man so frightened. Look, says Carolyn, are you sure you want to continue this grand tour?--because I'm beginning to think this place is really getting you down. Vicki assures her no, she's all right--and promises not another word about Mr. Devlin.[/spoiler]
are you back for a visit? Sort of, the woman says. Has the town changed any since you last saw it? asks Maggie. Not a bit, the woman replies. Maggie laughs. In fact, it's just the same way it was today as it was then (said with distaste). That's what I keep saying, Maggie says. And if I know this town, it never will, the woman says. You know this town, all right, says Maggie. Same feeling, the woman says--the salt smell of the ocean, the gulls making those sounds, the fog, the dampness, the fishing boats--the noises of the docks and the old building. Chamber of commerce, anyone? quips Maggie. Is that what I sound like? the woman asks. Right out of the brochure, says Maggie--except there was something in your voice that told me you weren't actually praising those things. Oh, I'm sorry, I didn't mean it that way, says the woman--actually, all those things are very meaningful to me--they've been part of my life until...the last few years. Then you missed it, says Maggie. Yes, I missed too much of everything, the woman replies. You must have just gotten into town, says Maggie. Um-hm, I got into town about an hour ago, the woman says.[/spoiler]
Roger thinks I over, then says you must want these paintings for a reason--and for money--therefore I won't give them, but sell them to you. Sam offers to give back the fifteen thousand. Roger turns to look at him, fascinated--where would YOU get that kind of money? he demands. I'll get it, promises Sam. I see, then they are valuable, guesses Roger. Let me think--art prices usually rise in time, if the artist is any good--and I think you're exceptional, Evans, I've always told you that--I'll sell you back the paintings for 50 thousand dollars. Sam is stunned--and angry.[/spoiler]
Barnabas comes out of the Old House, and Vicki tells him she's glad to see him. He is confused; he's never met HER, he says, and she asks him if he's teasing her--and why is he wearing those old clothes?[/spoiler](http://www.dsboards.com/epimgs/0366-1.jpg)He notes that her attire is odd, to say the least.
Julia says Vicki only remembers moments, fragmented, she seems afraid to remember all of it. Barnabas fears Vicki does know about him, why else is she afraid? He kneels on one knee (such a submissive posture!) and begs her to help him as he did before. Can't they be friends again? She doesn't know. She was ready to save him then, he points out, and his life depends on what Vicki knows.[/spoiler](http://www.dsboards.com/epimgs/0462-3.jpg)If Julia won't let him, she must find out. She says she's trying to. Will she use what she learns to help or hurt him, he asks, and she says that depends entirely on him. (GOOOO, Julia!) She leaves him, still kneeling, and he decides he can't count on Julia--he must do what he can himself.
Julia and Chris return to Collinwood. She thanks him for the ride. She reluctantly agrees to answer more questions and invites him into the house. She tells him she didn't know Tom well at all, but he feels her reaction says otherwise. I examined him at the hospital, she admits. You told me you weren't on the staff of the hospital, Chris says. Julia explains that she's in research, and asked to see his unusual wounds. What about that wounds? asks Chris. Julia says it appeared to be an animal bite. What kind? He asks. Julia doesn't know. Chris doesn't seem to believe her.[/spoiler]
Quentin darts out at Magda as she's heading for the door, humorously asking if she told Grandmama she'd live forever. She knows that isn't true, says Magda--I told her what the cards said. Quentin asks if the cards suggested a sum of money for the gypsies. Magda doesn't answer. Quentin reminds her when his grandmother dies, Magda is going to need friends--and I have no prejudice against "your kind"--if Edith should die tonight, you would be forced to leave by morning. Magda says what must be. . .I might be happy to leave. Quentin says you've been here too long and have forgotten the road, you know that[/spoiler]
The two peculiar people kneel and bow to Barnabas, raising their hands to him as if in salute. Who are you? he asks--what are you doing? They rise to their feet and approach him. Don't come any closer, warns Barnabas--what do you want of me? The woman waves her hand again. What kind of sign is that? demands Barnabas--you expect me to understand?--let go of me! The man holds him tightly, preventing his escape. Disappear, Barnabas tells himself, but he can't--I can't! Who are these people? What strange powers do they have? He struggles in the man's grip, unable to free himself.[/spoiler]
I'm going up to bed--are you retiring, too? Barnabas, standing in the doorway, out of Liz' sight, shakes his head, indicating to Julia, I want you to stick around. I'm not going up yet, Julia tells Liz. Barnabas hides from his cousin, waiting until she's gone upstairs, says Julia, I he saw many things up there, including you and Liz, and you were quarreling over a portrait of Angelique, who was important to both of you. She's part of this other existence, too, muses Julia. I couldn't get in this time, either, says Barn--there's a barrier there. I'm not sorry, says Julia, if it is parallel time, you must not let yourself become part of it until you know more about it--it could be very dangerous--we must talk to Stokes again.[/spoiler]
Sheriff's office - Carolyn has brought a photo album to show the sheriff. Seeming almost annoyed, he tells "Miss Carolyn", I don't have time to look at pictures. Nevertheless, she opens the album--you must see just one, she says. You spend too much time thinking about those days, he says. I do not, she says irritably, I never think about them, it's just that when I saw her last night, I began to remember... She turns the album around and shows him a photo of Julia. It's the same woman, he says. Look, she says, pointing to the writing, spring, 1970.[/spoiler](http://www.dsboards.com/epimgs/1063-3.jpg)She even wears her hair the same way, he says. Yes, says Carolyn, rising to her feet, and begins to giggle. What kind of joke are you trying to pull? he demands. It's no joke, she says. That was 25 years ago, he says, no one looks now like they did then. No, says Carolyn, throwing her arms around like a child having a tantrum.
--you're so thoughtful and considerate, I've always considered myself lucky to have a sister like you. I only want you to be happy, says Daphne--I just don't see how you can be in this house, I know I couldn't--there's a coldness here, a kind of terrible hostility, I feel it every time I come here--it frightens me. Perhaps if I come here, everything will change, suggests Catherine. I'm not sure that anything can change this house, says Daphne. We'll see, predicts Catherine. She walks away. Daphne RT is suddenly faced with an empty room again. She enters the dark room and looks around, sure she's having hallucinations--how can this be possible?--but no, I know what I just saw--but how? She closes the doors and leaves.[/spoiler]
Where's Daphne? asks Julia. I've never heard the name, says Ben.[/spoiler](http://www.dsboards.com/epimgs/1110-4.jpg)The children's governess, says Julia. You must mean Hortense, says Ben.
Carolyn closes the doors and says they really should have the door soundproofed, don't you think? (if only she knew!) Just a little family discussion, Kitten, says Roger, nothing for you to worry about--why don't you go back up to bed?[/spoiler](http://www.dsboards.com/epimgs/0004-2.jpg)I will, promises Carolyn, as soon as you answer one question--who's trying to kill you? Liz wants to know how long Carolyn has been outside the door? Not long enough or I wouldn't have to ask, says Carolyn--who is it?--Burke Devlin? Where did you hear that name from? demands Roger. It was Vicki, she mentioned it, says Carolyn. Roger exchanges looks with Liz. Did I say something wrong? asks Carolyn. Liz asks what Vicki said. Only that she told Uncle Roger that Devlin had given her a ride back from the railroad station, says Carolyn--and you almost blew a fuse, she tells her uncle. Roger walks away, to the piano, his head averted. I told her she must have been mistake, adds Carolyn, that you don't jump that easily--unless you have a good reason. She looks at him hopefully. This is not your affair, says Liz. How can you say that? asks Carolyn, if someone's trying to hurt Uncle Roger? Your mother is right, Kitten, says Roger, besides, it's nothing I can't handle myself, really. So what was all the yelling about? asks Carolyn--who is Burke Devlin, anyway?
Carolyn is taking a nap; she's a little tired--Liz woke her several times last night because she heard her prowling around. Liz looks uncomfortable, asking, "You heard ME? That's impossible--I didn't get out of my bed last night." Carolyn assures her she heard her mother's door open and close several times last night. You must have been mistaken, says Liz.[/spoiler]
Joshua questions Vicki about her odd behavior, and says he knows about the carriage accident. He asks if she reads and writes, and, seeming surprised, says she does both, plus knows history, English lit, math and can play the. .clavichord? suggests Joshua. Yes, she quickly agrees.[/spoiler](http://www.dsboards.com/epimgs/0367-4.jpg)He asks where she got her education. I was brought up in a Boston foundling home, replies Vicki. He asks her to step into the light, looks her over, pronounces her intelligent and harmless, and offers her four bucks a month plus room and board. She's to be in the nursery 8 AM the following morning; Sarah will be ready.
Vicki awakens calling, "Peter!" Barnabas is there, demanding to know who Peter is. "Someone I met a long time ago," she says. Someone you cared for, Barn asks. Yes, she responds. Forget him, orders the vampire. I'm trying, she says. You knew I was coming tonight, he reminds her--are you ready to leave now? She moves away from him, upset. No, there's something I have to do first, to get peace--I must know if what happened during the seance really happened or was just a dream. It makes no difference, he insists, she's beginning a new, different life. She asks if he wants her to be happy. Of course, he responds. I won't be until I know for sure, she says, and there's a way I can do so--go to the Collins tomb and see if there really was a secret room--if there is no secret room, she'll know it was a dream; if they do find it, she'll know she lived through part of the past.[/spoiler]
Judith introduces Barnabas to her brother. "An unexpected pleasure, Cousin," greets Quentin, smiling broadly. Barnabas apologizes for not letting them know sooner of his arrival. Quentin warmly assures him, we're always delighted to welcome family members, no matter how distantly related. I arrived late this afternoon, says Barnabas, and I enjoy traveling. Quentin tells Judith Barnabas really resembles the portrait in the foyer. Ah, yes, the original Barnabas Collins, agrees Barnabas. Yes, says Judith, he lived a hundred years ago, in this house. Yes, says Barn, I'm quite familiar with his life, being a direct descendent, and all--Barnabas left Collinwood in 1798 (?), went to England and established that branch of the family. Quentin apologizes for not being familiar with Collins family history. Barnabas says, I'm not a historian.[/spoiler]
Back at Collinwood, Carolyn pours tea from a silver service, telling Julia, it will calm you down. Julia still clutches her journal. You need rest, insists Carolyn. She hands Julia a cup of tea--exactly what happened? she asks. For the past few weeks, explains Julia, I've been hearing voices that seemed to come from the past--I think I heard them tonight. And they told you Barnabas is dead? asks Carolyn. No, says Julia, they said he disappeared from the Old House. You already knew that, says Carolyn. I was wrong to think that meant he was dead, admits Julia--I should have known--if he did disappear, then he must be on his way back here! You aren't making sense, says Carolyn. Julia, however, is already half out the door--I've got to go![/spoiler]
Julia's captor, Daniel Collins, tells her, don't scream--they'll come if you scream--it's my duty to kill you. Julia struggles as he drags her into the playroom.[/spoiler]
...unable to even enter, when I watch my friends live other lives--are Julia and Stokes right--is there a time band running parallel to ours, where we live different lives because we have made different choices? I must find out! Why can't I always see those lives in this room, why?[/spoiler]
Barnabas enters the drawing room, where more beams have come down, leaving it almost unrecognizable--there was no war or hurricane here, he says--it's as if the house was simply abandoned. Barnabas, in one month? she asks, astounded. The house is as still, quiet as the grave, he says--do you suppose that everyone we knew, all our friends--Maggie, Elizabeth, David--are dead? Julia horrified, says, I don't know. They continue to wander around. She finds and picks up some papers on the desk she'd left there the night she went to parallel time--look how they crumble at my touch! Perhaps, suggests Barn, radiation has sped up the process of deterioration. (Barn knows about radiation)? She gazes at the pieces in her hand--it could be, she says. What could have happened? he wonders. She finds another piece of paper that says, "We must leave Collinwood before the day is out--we must." It's a note in Liz's handwriting, unfinished, says Julia. Then they did leave for a reason, says Barn, walking amongst the rubble--but what is it? On the floor, he finds Liz' diary, which has been burned. I wonder why anyone would burn it? asks Julia. It's as though they wanted everyone to forget they ever existed, says Barn.[/spoiler]
You've asked her to marry you, haven't you? Julia asks Morgan, her voice icy. Nothing that happens in this house ever escapes you, does it? asks Morgan coldly. The proposal was inevitable, we've all known it, she replies--I suppose she did not give you an immediate answer? You suppose correctly, as always, he says. Catherine knows her own mind, says Julia, she's strong and loyal--and if she accepts you, she will make a fine wife. You're leading up to something, my dear aunt--what is it? The question of where you and Catherine will live, she replies--after you're married. We're going to live here, of course, says Morgan. You know very well that you cannot bring anyone into this house! hisses Julia, and you know very well why. I refuse to let my fears be decided by the fears that exist in this house, insists Morgan. I am speaking of realities, says Julia--how can you possibly deal with the problem--if Catherine is living here?--how can you explain to her that she's got to lock her doors every night, that her life is in constant danger--what in the world will you tell her? I will tell her nothing, says Morgan, because I believe she is what this house has needed for a long time--I believe things will change if she were here! They will change only if you told her the whole truth, says Julia vehemently, and your mother and I would never accept that--you know you must never tell anyone. Now listen to me, insists Morgan, we can't allow this secret to go on any longer--we can't live in this atmosphere of fear!--we can't lock our doors every night, we cannot walk down the halls without feeling fear! Please lower you voice now, cautions Julia. The servants are in bed, says Morgan, there's no one listening. They may or may not be, she says, I don't want to take the chance of anyone overhearing[/spoiler]
I tried to tell him I'm sorry, says David resentfully, but he wouldn't listen! Is that all? asks Vicki. He yelled at me and told me to go to bed, complains David. Look at me, says Vicki--your father was almost killed--I'm sure he must be very upset, just as you are. I wanted to apologize, that's all, says David. But there's no reason for you to apologize, says Vicki, believe me--I know what's bothering you--you told me you wished your father would die, and he almost did, and now you think it's your fault. It's not true, says David, it's not my fault, and I had nothing to do with it[/spoiler]
"I will not be cross-examined or have my motives analyzed!" says Liz, leaping to her feet. "I invited a houseguest and that is it." Vicki begs her not to allow herself to get too excited. (Vicki, Roger and Carolyn are lined up in front of the fireplace, leaving Liz standing alone by the sofa. It underlines how isolated she must feel right now.) Roger walks over to her, assuring her they aren't attacking her. They're obviously interested and concerned about her friend, that's all. "He isn't your concern," says Liz crisply, "so you hereby have my permission to ignore him." Actually, he seemed a pleasant enough sort, says Roger sarcastically, but if that's your attitude, I might take your advice--and he leaves the room. Carolyn apologizes to her mother for causing this. Not your fault, says Liz. I've been reading meanings into things that don't exist, says Carolyn. Liz tells her to be careful, especially now, and not misinterpret what she sees and hears. I'll try, Carolyn promises, and I'm not like Uncle Roger--I'll make Jason feel welcome. No, that isn't necessary, says Liz, too sharply, then adds, more softly, I don't want you to go out of your way. Don't worry, says Carolyn, it's no trouble at all! And she leaves, too. Vicki is the only one left. She walks over to Liz and asks if there's anything she can do. No, says Liz. You should get some rest, advises Vicki. I'm beginning to feel tired, says Liz. You need to get your strength back, says Vicki. Liz agrees she's going to need all the strength she can muster. Why do you say that? asks Vicki. Liz tells her she's going to need her support. You know you have it, says the young woman.[/spoiler]
Josette clings to the suffering Barnabas, crossing herself, praying for him to get well.[/spoiler]
Vicki gets into bed. We see Josette's music box on her dresser. Barnabas, staring out the Old House window, says that Vicki now represents too great a danger to him, and he must do something about it. He orders her to come to him when she hears the music. Josette's music box opens by itself and Vicki, in a trance, climbs out of bed and takes it into her hands, listening intently. Barn tells her not to be afraid, to let the music guide her to a new life. "Come to me, Vicki, come to me!" he commands.[/spoiler]
Beth arrives with dinner, and quietly tells Judith Quentin stopped her in the foyer and questioned her about the food. She said she was bringing it up to Judith and she thinks he believed her (all Judith takes from the tray is a cup of something). Judith warns her that now that Quentin is back, they must be cautious, not let him become suspicious. Edith calls for her consomme, and Judith tells Beth to take the rest of the tray upstairs and don't let him see her.[/spoiler]
Sam drinks at the Blue Whale. Roger enters. Other patrons are being served by the bartender. Roger joins Sam, who notes his arms are empty--"I thought you were going to bring me something." I thought I would, too, says Roger, he doesn't know where his paintings are--he searched all over the house, everywhere--he can't locate them. Sam insists he has to be kidding. They sit at a table. Roger says he wishes he were--they were in the house. I didn't expect you to hang them, says Sam, but I didn't expect you to lose them! He didn't, says Roger, they must be around--unless someone threw them out. This horrifies Sam--how can anybody throw out paintings?[/spoiler]
She's surprised he doesn't know who she is, I was sure you'd remember--we knew each other long ago. He seems puzzled. His face, his hair, his hands are all the same, points out Vicki--you are Peter Bradford.[/spoiler](http://www.dsboards.com/epimgs/0466-2.jpg)I'm Jeff Clark, he corrects her, sorry to be upsetting you. He wants to help, tells her not to cry. Neither of them understands, which makes them perfect for each other. He wants to go, but she begs him not to leave. Where did he come from, she asks. The road, he says--he hasn't lived in Collinsport long at all and doesn't want to give her his life story after all she's been through--not 1795, but the accident, he says. He starts to go, promising he won't disappear. He figures she liked Peter and envies him that. Don't envy him, advises Vicki.
Edith frets to Judith, "Why hasn't Edward gotten here yet?" Judith doesn't know, but there's someone else who wants to see her. She can't tell the secret to anyone else, insists Edith. He didn't come about the secret, he's a distant relative who has brought her a family heirloom, explains Judith. The poor old lady is delighted to think someone has brought her a present, and agrees to a few moments--she's very tired. She says she must sit up for company, and Judith props her up on pillows.[/spoiler]
What about Angelique? persists the doctor. Barnabas hastens back into the room, reluctant to tell him, but finally says she was a witch he married before he realized what she was--her curse turned him into this creature, and he wishes he could hide from her still. In modern medicine he might find his best hiding place, suggests Lang, and he will defend him.[/spoiler]
What am I going to do? she asks. The first thing you must do is realize you don't know all my plans, he says, I have reasons for everything I do--I have one why Daphne was in this room. Don't you think I know THAT? she asks sarcastically. There you go again, he says, my reasons aren't exactly like yours. What are your reasons? she asks. Do you think I will tell you, he asks, after the threats you made to me?--your threats are not exactly conducive to confidence. She looks sorry.[/spoiler]
[/spoiler](http://www.dsboards.com/epimgs/0993-1.jpg)The piano plays on. Alexis, terrified, insists, it must be Angelique, I know it is! I don't believe it, says Quentin--it can't happen. Alexis agrees--but it's true! Are you sure it's Angelique? asks Quentin. There was a fragrance in the room when I came in, reveals Alexis--Angelique's favorite perfume--I though it my imagination, but when I started writing to some friends in Florence, slowly, as I was writing, I began to feel something, I can't describe it, a presence--so I kept trying to write, but the feeling grew and grew
Why did you cause something to happen to me, why? demands Maggie--where did you come from, why did you do this? You will understand, he assures her--everything is going to be all right. He sets the box down and adds, I'll make everything all right. Why are you doing this to me? she asks. You know, says Jeb, just as you know who I REALLY am--you do know, don't you? he asks, staring into her eyes. I don't know, she says, I must be going crazy, this can't be happening! It's happening, he assures her, and I want you to tell me who I am--go on. "I don't understand it, but you're Michael grown up," she says.[/spoiler]
Continue to paint other portraits, urges Barnabas. Charles picks up a tattered canvas and says, I cared a great deal about some of the portraits destroyed here! And there was one particular portrait someone else cared about, says Barn. Quentin Collins, says Tate, we're back to that. Was his portrait here? asks Barn. I did steal the portrait, he confesses, believing it would do me some good, but now it won't do me or Quentin any good.[/spoiler](http://www.dsboards.com/epimgs/0884-1.jpg)This pleases Charles. Then the next time there's a full moon, says Barnabas..."You'd better stay away from Quentin Collins," advises Tate. There has to be a way of stopping it from happening, says Barn--you must paint another portrait of Quentin, you must--if you did it before, you can do it again
She warns him to stop acting innocent, he can't fool her. Hurt, he accuses her of not wanting to believe him. Stop it, she orders--it won't work--whatever it is, it's something you're terribly afraid of. What? he asks. Whatever he's trying to hide, she replies. He denies that, too. You're hiding something in the storage room, says Maggie--did you really find the phone there?[/spoiler]
Nicholas comes to the door and Julia greets him. I must speak to you, he says, his face sober, something of vital importance--this has to do with both you and Barnabas. Liz looks startled.[/spoiler]
Later, Natalie assures Naomi she believes she saw what she says she saw. They agree there is an evil force at work, and ponder who it could be. Not Vicki, insists, Naomi. The warlock could be Joshua, suggests Natalie. Nat asks Naomi if she's wondered about her, Countess duPres, and Naomi admits, yes, she did, but never came to a definite conclusion. Andre? Never. Naomi suggests Angelique. Well, says Nat, it would make her more interesting, but she's known her since she was an uninteresting child, and doubts she's the one. (countess, you know zilch!) The victims, Barnabas or Josette, who earned no pain but got so much of it? They must find Vicki, Nat says. For whatever reason she disappeared, they must find her.[/spoiler]
Barnabas and Julia return to the Old House. Does anyone else know your true identity and mission? demands Barnabas--there must be complete trust between us. Only Dave Woodard knows she's a doctor, says Julia, but no one else knows about Barnabas.[/spoiler]
I have something to tell you, Roger tells Frank--I was going to call you first thing in the morning, hoping to anticipate a call you can expect from Lt. Riley. Must we talk about this tonight? asks Laura. I'm merely going to tell Mr. Gardner what Lt. Riley told us, says Roger, that's all. What did Riley have to tell you? asks Frank. Something very amusing, says Roger--that the authorities in Arizona--they're very diligent, you know--they have identified beyond any question of doubt who that woman was who burned up in the fire. They have? asks Vicki. Yes, says Roger, dental records, blood types--all of the things modern science has invented to make this possible--and at least the great mystery is solved. I'm glad to hear that, says Frank--who was she? The lady who burned up in that fire has proven to be, with absolutely certainty, says Roger--Laura Murdoch Collins. Laura Murdoch Collins, died by fire, murmurs Vicki. I think it's amusing, don't you?[/spoiler](http://www.dsboards.com/epimgs/0154-4.jpg)--very amusing, says Roger. Frank, not smiling, looks at Laura, whose face is expressionless.
That sheriff has been out there over 20 minutes, frets Frank to Liz in Collinwood's drawing room--why hasn't he found Vicki? Liz, sitting on the sofa, says she doesn't know. He sits beside her and tells her he should he helping them search. The sheriff was right, says Liz, he and the deputy know the grounds better than you do. It would be something, he says--sitting here waiting, doing nothing is driving me nuts!--what's taking so long? She stands and asks if he has any idea of the size of this property--if Vicki wandered off into the woods, it could be hours before they found her--she opens the window to look out--but that isn't saying she isn't going to be found. He comes over to her. You really believe that? he asks. I want to believe it, she says. So do I, he says--I would if I didn't know what's already happened--two attempts on her life--that's what really has me worried. I know, says Liz. Are there any back roads leading from this place into town? he asks. One, she says, but it's practically impassable. I know she didn't take the main road into town, I'd have passed her coming up here, he says--maybe Vicki went someplace with Carolyn. No, says Liz, I sent Carolyn to a friend's house earlier this afternoon--she was very upset about her uncle--and Vicki was with me when she left. That means she must be here on the grounds, someplace close by, says Frank, but where could she be? He paces, and Liz continues to look out the window.[/spoiler]
Roxanne lies on a couch in a strange house--and is finally wearing clothes! She hears someone coming and hides. It's Stokes, who says, I know you're there somewhere--I must speak to you, it's very important, for your sake--you must not be frightened, I won't hurt you...I've come to warn you...the police are looking for you--can you hear me? She reluctantly exits her hiding place--I do hear you, she says. Why are you hiding? he asks, you know I'm your friend. What do the police want with me? she asks. To question you, he says. But I've done nothing wrong, she says. I'm afraid the police might find that difficult to believe, he says. I was forced by you and Claude, she says. If I remember correctly, he says, you agreed because you'd do anything for Claude. I didn't agree freely and you know it, she says. I know nothing of the kind, he says, so you see, my dear, you'd better stay hidden here for a little while, anyway--I'll come and see you and bring you anything you want. Claude will see that I have what I want, she says. Sorry, says Stokes, Claude is dead.[/spoiler](http://www.dsboards.com/epimgs/1057-2.jpg)Her face convulses with sorrow.
"Do you know the story about the vicar's daughter, named Alice?" she asks, bursting into laughter. Trask grabs her, forces her to her knees--where you belong, so you can pray! She rises, laughing, hits him gently with the recorder and tells him, I don't remember how to pray. He grabs her arm again and says, you're going to, because it's a part of you, of your life, like the blood in your veins! She continues laughing. He repeats, "It's your life blood--now pray, Charity, pray!" She comes back to herself and obediently says, "Yes, Father." She falls to her knees, in praying posture. Keep praying, he orders--this madness must not touch you again. He kneels beside her, says, "Never again," and puts his hands together in prayer, too. "My plans are too close to completion," he says intensely.[/spoiler]
Carolyn, in her mother's room, kneels beside her mother, who is lying on the floor. Julia joins Carolyn. I found her here, cries the blonde. Julia takes Liz' pulse, checks one of her eyes, then stands. Liz speaks to herself, asking, "Why can't I speak? Why can't I move? Why can't I somehow let them know?" Julia soberly informs Carolyn, "You mother is dead. The young woman immediately begins to sob against Julia's shoulder. Julia presses a comforting hand to Carolyn's head as Liz continues to talk inside her own mind: "I'm not! I'm not! I must move! I must make them hear! I'm not dead!"[/spoiler]
Stokes lets Jeff in, who tells him, someone picked up your phone but didn't say anything. Stokes suspects his home is haunted, but he's never in his reading encountered a ghost who used the telephone (this is prophetic, given what will soon happen). Jeff says someone was there, he heard breathing. Wrong numbers, says Stokes--I was out finding the herbs I told you about. He opens a packet and shows Jeff, telling him he advises against this. You promised to help me, Jeff reminds him. Stokes admits he is having second thoughts--the herbs can be dangerous, and mysterious things could happen. I need that, insists Jeff. Trapped between curiosity and knowledge, says Stokes, and suggests he discuss this with Vicki. The herbs can help me remember if I'm using Jeff Clark's body, but am really Peter Bradford--I need to know more, like how I came to this century-- then I could go back to my own (please, GO!). Stokes advises him to marry Vicki and consider it an unusual marriage--but most are, in one way or another. When Stokes' back is turned, Jeff munches some of the herbs. Stokes catches him and demands to know what he's doing--you must do it by the ritual, the only way it can be controlled, protests Stokes--you might have spoiled it! He orders Jeff to sit down, turns off the light, and lights a candle on the table.[/spoiler]
He tries to sidestep around her accusation that he paid Vicki a visit the night before, but he defensively claims he only wanted to LOOK at her.[/spoiler](http://www.dsboards.com/epimgs/0300-1.jpg)Bull, says Julia, I know what you are and what you REALLY wanted.
Collinwood - Vicki comes out of the kitchen, quietly closing the door. She sneaks upstairs, but Roger calls her from the drawing room. You startled me, she says, coming back down. I'm sorry, says Roger. I didn't know anyone was up this late, she says. I was worried about you, he says--won't you come in for a moment. She joins him, walking slowly--you knew I'd gone out? she says. Please don't think I was spying on you, he says--I thought of something else that you ought to know--he prepares another drink--I went up and knocked on your door, and to my surprise, no Vicki! I couldn't sleep, she says, I went for a walk. You must be exhausted if you've been walking all this time, he chuckles grimly. I wasn't walking all the time, she says, I went to Maggie Evans' house. (uh oh) Did you? he asks--and how is Maggie Evans? She's fine, says Vicki--you remember, she called me earlier this evening. Yes, I seem to remember, you spoke at some length, says Roger--something to do with the portrait of the Hanscomb girl? That's right, nods Vicki. Then is that what you discussed this evening? asks Roger, knowing she's lying. Yes, says Vicki, she said she found out something new about it, but apparently she was wrong. What a shame, says Roger--then your visit was entirely wasted. Not really, says Vicki, I like talking to Maggie. So do I, he says, I must really get to know her better. She's lots of fun, says Vicki, it's nice to talk to someone who has no big problems to solve. Yes, says Roger, sipping his drink, I can imagine. He drains the glass. You said you wanted to see me, she says. It's not important, he assures her. What was it about? she asks. Out minds run in the same channels, I was about to suggest to you that you call Maggie Evans. What for? asks Vicki. To see if she can throw any light on the portrait of the Hanscomb girl.[/spoiler](http://www.dsboards.com/epimgs/0103-4.jpg)That is a coincidence, agrees Vicki. I told you, laughs Roger, our minds seem to work alike. I think I'll go to bed tonight, says Vicki--I'm quite tired. You should be tired, agrees Roger, after that long walk. She nods and bids him good night. He watches her go upstairs. Pleasant dreams, Miss winters he says, taking another slug of his drink.
Gabriel sneaks into Catherine's room, where she lies asleep--vulnerable. He quietly walks over to her. Is that you, Melanie? she asks, eyes still closed. She opens her eyes and sees who it is--"Gabriel!" she cries, staring up at him fearfully. I haven't much time, he says. What are you doing here? she asks. What is Gabriel doing? he repeats, referring to himself in the third person--Gabriel is leaving--nothing became his life more than the leaving it--I read that in a play somewhere--oh, you didn't know Gabriel could be clever and witty, did you?--he chuckles. Catherine sits up, then stands--I should call someone to help you, she says. He grabs her--call no one, he orders--no one must know anything about this--we wouldn't want anyone else to know what we're up to, he asks, would we? His face is very close to hers, as though he's going in for a kiss. Terrified, she asks, what do you want from me? Money! he cries, that's the only way I can get out of here--the only way I can get them to open the gates of hell and let me out![/spoiler]
Gerard sloppily pours himself a drink and gulps it down. Daphne comes downstairs and gazes at him in confusion. She sits by the fire, not saying anything. You look as though you had a nice nap, he says--did you rest well?--I was thinking of you earlier--perhaps it would be best if you went to Desmond and told him to get prepared for what Trask is going to bring into court. Yes, you're right, says Daphne, I'll go to Desmond first thing in the morning before he goes to court. And if you like, I'll be happy to take you there, says Gerard. How very strange you are, she says seriously, I owe you an apology for doubting you so--of course, you're right, someone must have overheard us in the jail. You believe me now? he asks. Yes, she says. Why? he asks. I don't know, she says, I just feel differently, that's all.[/spoiler]
Tad finishes drawing the pentagram on the floor. I must get candles now, he tells himself.[/spoiler]
Do you know the man who attacked him? asks Quentin. He's only been in here a couple of times, she responds, I don't know him at all. Whoever he is, says Quentin, he must be pretty dangerous--I've got other things to worry about--good night. She stops him before he leaves, reminding him, when I was at Collinwood, you were very nice to me, and I never lied to you--I don't know his name, but there is someone who does know. Perhaps if there's anymore trouble, you can give the name to the police, suggests Quentin--good night. That someone is a friend of yours, she says. A friend of mine? he asks. They fought here tonight and broke a lot of stuff, explains Miss Harrington, and this guy says he's going to pay for it, and he goes out and comes back with this check, which is probably forged, but look at the signature--Cyrus Longworth. He gave you this? asks Quentin, stunned.[/spoiler]
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--[/spoiler]
In her room, Kitty tells Edward--whatever is happening to me must stop. It will, he promises, with rest, and love. Will love cure me? she asks. I'm sure it will, he says gently. I don't think I could live through this without you, she says[/spoiler]
Barnabas tells David, you must help us with Amy--what's wrong?--it's important. David changes the subject--[/spoiler]
you're still too much your own person, Barnabas." He rises from the chair. She walks slowly toward him. "I will not have that," she says. "No, I will not. You must learn that you are mine." She wraps her arms around his neck. "No. . .no," he murmurs. (We get a quick glimpse of her slipping the fangs into her mouth.) He moans as she sinks her fangs into him, and she looks like she's going for every drop he's got.[/spoiler]
--and if you have not seen Barnabas, and I have, then someone must find out why. Yes, agrees Joshua, someone must find out why. Outside, dogs howl.[/spoiler]
Barnabas gazes balefully out the Old House front window, thinking to himself, "At last darkness has come. Goodbye, Maggie Evans. I might have loved you. I might have spared you. Now you must die." Dogs howl.[/spoiler]
In his room, David puts on a tie. He runs to the window and gazes out, excited. Vicki comes in and asks what he's doing. Changing my shirt and tie, he says. Your other ones must be torn to shreds, she quips. No, he says, I even washed my hands, too. With soap? asks Vicki, grinning. Yup, says David. Something's cooking, says Vicki. David looks at himself in the mirror and adjusts his tie. My mother's coming, he says. That's wonderful! she exults. I never thought I'd see her! he says, brushing his hair. I guess in that case you'd better brush your hair some more, she suggests.[/spoiler]
Then you did go to Bangor, says Liz. Yes, I had lunch with a friend, says Carolyn. Liz asks John to excuse them for a minute and leads Carolyn into the foyer, closing the doors behind them. Was this friend by any chance Burke Devlin? asks Liz. Yes, says Carolyn, but how did you know about it?--I suppose Vicki must have told you. No she didn't, says Liz--you know how I feel about Burke. Yes, but I don't see why, begins Carolyn. Never mind why, says Liz, I don't want you associating with him. I don't know exactly what you mean by associating, says Carolyn--all I did was have lunch with him--you'd think it was a federal crime--[/spoiler]
It wouldn't do any good to see him, says Aristede, if you have the hand, give it to me, it can save them both! Not until I have a promise from Petofi, says Barnabas. He can't promise anything; sys Aristede--he can't speak, hasn't been able to speak since he possessed Jamison. I must get a promise from Petofi, insists Barnabas--even a flicker of an eye or a hand raised that he will cure Quentin and end this reign of terror at Collinwood. I will promise that, Aristede assures him. I refuse to accept your word, says Barnabas--I want to talk to Petofi. You must trust me, says Aristede, or the child will die. Barnabas thinks a moment and agrees[/spoiler]
Willie arrives to complain that he and Maggie are both going stir-crazy in the mausoleum's secret room. Barnabas isn't interested--they've got a bigger emergency here. Carolyn died following the attempted experiment, and Adam's gone to Collinwood to destroy the Collins family. Willie says Adam can't be at Collinwood, because he saw him sitting alone under a tree in the woods (aw, poor guy, but it's nice that he put his killing spree on hold to mourn Carolyn a bit).[/spoiler](http://www.dsboards.com/epimgs/0593-2.jpg)Barnabas explains that Carolyn's body has disappeared. Julia theorizes that Adam must have changed his mind about getting revenge. Barnabas wants to know if Adam didn't take the body, who did? Willie says none of it's going to matter if Maggie gets out and tells the police about Barnabas.
Carolyn closes the double doors. Liz sits down. I want you to tell me why you think Burke would try to kill Uncle Roger, demands Carolyn. I wanted to forget about it, says Liz--you were just a baby--all the unpleasantness--I was hoping it would be over with--10 years ago, there was a trial--manslaughter--Burke was convicted. He went to prison? asks Carolyn. Yes, says Liz--your uncle was a witness, and Burke swore he would come back here someday and destroy him--destroy all of us--I felt sorry for him then, I knew how terrible it must have been for him. Why didn't you ever tell me? asks Carolyn. You were just a child, says Liz, and I wanted it to be forgotten--and then Burke came back.[/spoiler]
When you say you want David, what do you mean? Roger asks his wife. I mean I found the one element of my life that was missing, she says, one that everyone needs--love--David can give me that. Are you saying that you love David and want his love in return? Asks Liz. Exactly, says Laura. How do you expect to acquire it? asks Roger--you're only a vague memory to him. Surely he's asked about me, says Laura anxiously. Of course he has, says Liz. But he doesn't expect to see you ever, says Roger. Why not asks Laura. Because your case was considered to be...so hopeless, says Roger. Now that you've see me, says Laura, do I still seem to be so hopeless? I don't know, he says. Come now, she says. Let's be straightforward, says Roger. Oh yes, we must, she says, rising to her feet--now more than ever. Where do we stand exactly? Asks Roger. More important, she says, where are we going? All right, legally, he says, we are still man and wife, if you will, and I am still responsible for you. I have no desire whatsoever to continue our marriage, she says, I won't oppose a divorce--I feel we should both be free to face the future squarely. What is it that you want? he asks. I want complete custody of David, replies Laura, looking at Liz.[/spoiler]
Liz knows damn well who stole it and sends Jason to retrieve it.[/spoiler]
Vicki, searching for Sarah in the Old House drawing room, encounters Matthew Morgan lookalike Ben Stokes stoking the living room fire, and immediately screams in terror, remembering when Mattew kidnapped her. Her scream brings Joshua running, and even though Vicki vouches for Stokes and explains that he resembles a man who once frightened her, Joshua sternly insists that Ben is not permitted to speak to any of the women in the house, so be broke a rule.[/spoiler](http://www.dsboards.com/epimgs/0372-1.jpg)
Foyer, Collinwood - Vicki tells Carolyn about Jeff. Perhaps Jeff is Peter, suggests Carolyn, perhaps he's a ghost, like Sarah. This guy isn't a ghost, says Vicki, and Carolyn apologizes for getting carried away. Vicki wishes she could pretend her trip to the past never happened, but she can't.[/spoiler]
Liz answers the phone--it's for Julia. (Busy lady.) She's upset to learn Amy has escaped Windcliff. She tells the caller to let her know if there's any news. Julia rushes into the drawing room and is upset to find Chris gone--Amy, her patient at Windcliff, escaped, and Chris said he was leaving Collinsport tonight. I must find Amy's brother, says Julia--where can he be?[/spoiler]
BTW, if you think today's Julia quote is in regard to Barnabas -
...
- that would certainly be a logical conclusion, especially given Julia's devotion to him. But you would be wrong.
Magda tells Carl the money will not stay with the person who gets it. If I get it, says Carl, it will stay with me, and not any of my siblings. Magda picks the death card and gasps. She rises from the chair, walks around the room staring at the air, waving her hands about. Carl demands she finish, but she shushes him, then says, "She is gone now! Edith is dead!" Carl is stunned--how do you know? The cards, and then I felt her spirit, says Magda. Where? asks Carl. She tells him the reading it over and they must wait for her will--the cards are silent. Carl grabs and shakes her, demanding to know if Grandmother told Edward the secret. No, she says. Someone has to know, asserts Carl. Someone does, she insists, but not Edward. He shakes her harder, insisting, tell me who does know!. Go! she commands, get out and grieve for your grandmother. I am going to, at least, she says sadly.[/spoiler]
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.[/spoiler](http://www.dsboards.com/epimgs/0977-1.jpg)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.
Julia races upstairs to the terrified Carolyn, who says, I saw a man's face outside, probably the same man you saw. They go to the window, but there's no sign of anyone. They wish they knew what the guy wanted.[/spoiler]
You don't belong here, whines Carolyn, I want you to go away! --make them go away, she begs Mrs. Johnson, who takes her into her arms as if she were a scared child and says, "Please, don't trouble her, it does no good to talk to her, I should know." We've got to try, says Julia--someone at Collinwood just tried to kill me. There are no murderers at Collinwood, says Carolyn with dignity (!)--there are only intruders who get whatever punishment they deserve. The man was dark-haired, continues Julia, with fierce, penetrating eyes--he wore clothes from another century. No! moans Mrs. Johnson, covering her mouth with her hands. It was a ghost, says Barnabas. It was HIM! says Mrs. Johnson. Who? asks Barnabas, who? No one, says Carolyn. You must tell us who! says Barnabas. Crying, Mrs. Johnson leaves the cottage. Julia begs her not to go, but can't stop her.[/spoiler]
Julia stands at the gate of the family mausoleum, thinking she can't meet that family, not now--Barnabas is summoning me, I know it! She enters the tomb, dressed in a cape and the gown Ben gave her. What if he isn't, she thinks, what if it's my imagination--my Barnabas is here--I know it! She opens the secret panel and steps into the room, looking at the chained coffin. She lights a candle and thinks that if his spirit has not made the journey through time, he will not know her. Barnabas Collins, she says, you can hear me--you must--it's Julia Hoffman--you must recognize my name--Barnabas!--let your spirit reach out to me--let me feel its presence. She gazes hopefully at the heavens.[/spoiler]
Catherine and Morgan enter. I mustn't stay very long, she says--I don't think your Aunt Julia was very pleased to see me here in the evening. I have no intention of detaining you, my darling, he says (Daphne clings to Quentin)--you may leave as soon as you've given me your answer. Why Morgan, says Catherine, you're becoming impatient with me. Frankly, I am, he says, you've had more than the little time you asked for--it's been a week. Yes, she says, I realize that. If some obstacle has arisen that I don't know about, he says. It's nothing like that, she assures him. Then darling, I must insists upon an answer before you leave Collinwood tonight, he says--I'll give you a few minutes to think about it. Catherine looks stunned. Morgan leaves through the double doors.[/spoiler]
You know the situation here, he says, that Burke's reason for coming back to Collinsport was to harm me and my family--he would try to learn anything at all that might be damaging--for tampering with the brakes in my car, I assure you was far more fruitful than prying into your past. If he did tamper with them says Vicki. Of course he did, says Roger, just as he hired a detective to find out all he could about you--I certainly wouldn't have helped him remove the bleeder valve from my car, but I could have told him everything about you. You mean because you knew the person who recommended me for the job, says Vicki. That's right, he says. Your sister told me about it my first day here, she says shrewdly, I mentioned it to you then, you must have forgotten about it. I guess so, he says, embarrassed at being caught in an obvious lie. I haven't, she says, I remember your reaction at the time--you acted as if you never heard of it before. (Yeah, Vicki!) I suppose I had something else on my mind, he says. I suppose your sister must have had something else on her mind, too, says Vicki, when she told me that same story. Why do you call it a story, as though it's not the truth? asks Roger. I checked with the foundling home, says Vicki, perhaps you didn't know that--just like that detective did--and I know that no one at the foundling home had ever heard of you or your sister. Of course they hadn't, says Roger. But you just said, she points out. He interrupts her, saying he told her she had been recommended to him, it's true, but not by anyone living in the foundling home--[/spoiler]
Once again, Jason blackmails Liz into letting Willie stay.[/spoiler]
In her room, Angelique tells Ben he is now bonded to her, unbreakably, and she plans to use his strength when she has none to use. He knows he must obey her.[/spoiler]
Barnabas bares his teeth, breathing heavily. Scared, still baring his teeth, he goes to the window, hears the howling dogs, pushes open the double doors and sees the rain. Quickly he closes the doors. Lang bursts in and Barnabas tells him he felt someone was watching him--he felt eyes looking at him while he was in bed, and even more frightening, he felt the urge for bloodHe wanted to get up, leave the hospital and go back to the Old House basement. The feeling has passed, says Barnabas, which Lang assures him is good--Lang doesn't know why it happened, he hasn't completed his tests. He doesn't know how often or severe these relapses will be. Barnabas is upset, he didn't know about these possibilities, he thought he was completely free of the curse. In time, says Lang, perhaps he'll be completely well. Barnabas accuses him of lying, but Lang he's not, and reminds him he can function in daylight now, a major step. Barn denies being an ordinary patient and demands Lang tell him everything. From time to time, you'll feel as if you're slipping back, explains Lang. Barnabas thought the transfusion had cured him, but Lang never used the word cured. What did you mean? asks Barnabas. Your condition was temporarily arrested by the transfusion, explains Lang. Barnabas is disappointed. "I see. Then I could revert to what I was almost any time." Lang admits this is true, but also says the chances are very great he won't, if he cooperates fully with him. Barnabas refuses to allow him to be used as a guinea pig; he's been there, done that, and with disastrous results.
Edith died before telling him the secret--but she did tell one of the other three! Judith and Quentin deny it, but Edward encourages Carl to speak. The Collins prankster tells them about how he was with Magda the night before, she knew the exact moment Grandmother died--and that she didn't reveal the secret to Edward--however, she said someone else knows it. She didn't tell the children, surmises Edward, or anyone outside the family, so it's one of us. Carl says, I'm not the one--why would I have told you what I did if that were so? Why not? says Edward--to cast suspicions elsewhere--I think you are sometimes crazy as a fox--it could easily be you and you know it. Carl says he'll swear an oath on not knowing the secret. Quentin suggests they get the Good Book and let Carl take the oath. This isn't a matter to be lightly treated, barks Edward. Quentin counters that it isn't a matter for a minor inquisition, either. Quentin is sure Judith knows it, and offers to let the prosecution state it's case.[/spoiler](http://www.dsboards.com/epimgs/0707-1.jpg)Judith, incensed, tells Edward to make him stop carrying on, but Edward refuses to help his sister. Quentin, getting in his sister's face, asks who in the house in the past week saw more of Grandmother than anyone else, and who did the utmost to prevent others from seeing her?--"dear Judith"? She tells Edward she doesn't know the secret. Both Quentin and Edward agree she wouldn't say if she did know. Judith had the best opportunity, argues Quentin, and she did. Judith insists she did not. Quentin points out, you never did lie very well. Indignant, Judith stands and tells Quentin, when it comes to straight-faced lying, no one can compete with you! Touche, says Quentin. Judith suggests Quentin tell Edward about his visit to Grandmother. Looking uncomfortable, Quentin says there's nothing to tell. Judith informs the others that Quentin tried to force the secret from Edith the night before. Edward demands to know if this is true. Quentin asks Judith if she feels "cleansed," now that she's done her duty? Edward demands an answer. Quentin admits it's true--it happened in a weak moment. Then Quentin must be the one, asserts Edward. Quentin doesn't follow his logic. You terrorized her, probably told her you'd kill her if she didn't tell, accuses Edward, so she gave up and told. Alas, no, the old lady wasn't afraid of dying, and didn't spill the secret, says Quentin. The siblings gaze suspiciously at each other. Edward finally breaks the silence--one of them is lying, and they won't leave the room until he learns who it is.
Stokes sits with Sabrina--we're going to have a review, he says--what's your name? Sabrina Stuart, she answers hesitantly--I was born in Malden, PA. Good, says Stokes--you lived there until you were 20, and in that year, something happened one night. Night, repeats Sabrina. It's the last thing you remember, prods Stokes. I remember, says Sabrina, growing upset. Tell me what happened that night, and you'll be well again, says Stokes. The night Ned found me, begins Sabrina. Who is Ned? asks Stokes. My brother, she responds. You remember him finding you, says Stokes, asking what happened--what DID happen, what frightened you so? Sabrina opens her mouth, unable to say. Try to remember, he begs.[/spoiler]
Roger goes to the east wing. We must discover its secret, he muses to himself--is Barnabas right? Were we really seeing parallel time? Are all of us living different lives in different bands of time? Why am I afraid to open the door?--what is so threatening?[/spoiler]
7:55 - The threesome walks down the hallway to the playroom. Julia notes, we are hearing the same music we heard the other night. Yes, agrees Barnabas, before we saw that figure in the window. Quentin backs away from the door--I don't want to go in there, he insists. Are you frightened? asks Barn. No, says Quentin. Then we must go in there, says Barn--Quentin, we MUST go it! The music stops as Quentin opens the door. He looks in. NO! he screams, and runs off--NO![/spoiler]
She's alone in a time she don't know, says Ben, a bad time for us all. Barnabas says he'll find out for himself. No, cautions Ben, no. He puts his hand on the open coffin. You expect me to go back there? asks Barnabas--you think I'll let you chain me in again? You've got to! Ben insists. I've been there over 40 years, I cannot do it, says Barnabas--this curse...this curse--the blood--I cannot stop it! You don't understand, says Ben desperately, everything's changed--the village--don't go there. I must get out, Ben, I must! Cries Barnabas. You'll get caught! Ben warns him. Barnabas says he cannot stop this craving, I cannot! Ben tries to prevent Barnabas from leaving the room, but can't; he begs him not to leave this room, for his own sake, but Barnabas pulls free from him and exits the tomb, in search of sustenance.[/spoiler]
At Collinwood, Liz is on the phone with Roger, her tone disapproving, explaining that David has been gone for three-quarters of an hour. "Well, if I knew where, I wouldn't be calling you...well, he's your son and he was very much upset. All I want you to do is get home as soon as you can. All right. Goodbye." She walks from the phone, twining her fingers together, and mutters, "Useless! Absolutely useless!" "Isn't Uncle Roger coming?" Carolyn asks from her seat on the sofa. "I don't think he cares whether David ever comes back," Liz says sadly. "Carolyn, I want you to go search the grounds." "Oh, look, he's only been gone a short time," Carolyn reminds her. Liz: "Darling, do you realize how upset he must be?" "Mother, he was frightened, and he ran. He's bound to come back because don't forget, he's only nine years old." "I'm not forgetting," Liz assures her, "and please hurry!" Carolyn agrees to go[/spoiler]
When Barn shows up, he smoothly bypasses Roger's question about his accommodations (can't very well tell the guy he beds down in a coffin during the day),[/spoiler](http://www.dsboards.com/epimgs/0218-1.jpg)but asks to live at the Old House, startling Liz. He speaks so passionately about the house and his desire to live there, and I laughed when he assured her, "I'm the product of a proper marriage."
As they head downstairs to the drawing room together, Jeremiah protests Barnabas' leaving bed over doctor's orders, but Barnabas wants to see Josette, and look at a wedding present together. Jeremiah feels Josette should have brought the gift up to Barnabas' room, and makes her promise to get him back there after they open their first wedding gift. After Jeremiah leaves, Josette tells Barnabas that she feels his uncle orders everyone around and makes her feel selfish. Barnabas knows how protective Jeremiah is, but they are very close, and he wants Josette to like him.[/spoiler]
He hesitates before asking her a very personal question-is she in love with Barnabas? No, she says, but Jeff asks if he's going to marry Barnabas. Who told you? demands Vicki--she assures Jeff they know each other better than he thinks and can ask her anything. He asks again if she's planning to marry Barnabas. Before the accident, they were going to elope, admits Vicki, but she isn't going through with it--she can't--she doesn't know how to tell Barnabas; she doesn't want to hurt him. It's unavoidable, says Jeff.[/spoiler](http://www.dsboards.com/epimgs/0470-2.jpg)Vicki wants to go to the hospital, but Jeff sharply tells her to wait until Barnabas is released--that hospital isn't safe for Vicki or Barnabas. There's a reason why he can't answer her question. He admits he works for Dr. Lang--did she trust Peter Bradford? Yes. Jeff asks for the same trust. He'll tell her everything eventually, but if she must go see Barnabas, do it quickly and come straight back to Collinwood--that's all he's able to tell her right now. She looks at him, bewildered.
Evan and Edward are coming downstairs. The lawyer tells Edward that Carl should have been informed that Judith had given him the envelope containing the information about the location of the will. Nonsense, says Edward, "Let's open it and get it over with." As they enter the drawing room, Edward says he supposes Evan will require Quentin's permission, too. Evan and Quentin lock eyes. Edward opens the envelope. . .[/spoiler]
Carolyn joins them--I love visiting Cousin Barnabas, she says, like one in a dream, but I can't understand why you insisted just because Mother is away--"I think it was a very good idea for her to take David and Hallie on a trip" she blathers--they've had no vacation at all this year.[/spoiler](http://www.dsboards.com/epimgs/1113-3.jpg)Stokes purses his lips, downcast. I'll go spend the weekend at the beach house, says Carolyn--could I, Cousin? she happily asks Barnabas. We'll decide that later, he replies. We always used to go there this time of year, says Carolyn girlishly--I loved it in the fall--the leaves are red, dying. . .she closes her eyes, then, her mood changing from light to dark, says, something happened at Collinwood--what?--who are those men?--who set fire to it? She abruptly giggles, switching gears--how silly I am, it was only a nightmare, I don't remember what it was about now--I should go upstairs and pack a bag so I'll be ready to go to the shore in the morning--it will be so lovely to be by the sea, and alone. She leaves. You must get her to a psychiatrist at once, says Stokes, she should be at Windcliff. I keep hoping the effects of what had happened would wear off, sighs Barnabas. That's not true, says Stokes, you told me yourself she was...she will be just the same in 1995. She would harm no one, says Barn.
Fascinating conversation between Barnabas and Jason. Jason wonders how Barnabas knows about him, while Jason finds Barnabas' resemblance to the portrait uncanny.[/spoiler]
Barnabas asks Vicki if she has any idea what is going on with Roger--she doesn't, but it scares her. Why does he think he's Joshua? wonders Barn. Vicki suggests that only Joshua escaped Angelique's witchcraft (what about Millicent and Daniel?), but perhaps she's trying to finish what she started. That sounds too incredible, opines Barnabas, but Vicki says after what she's been through, anything is possible. He suggests she shouldn't let her imagination run away with her, but she says it's not her imagination, it's her memory she fears. Barnabas notes the marks are gone from Vicki's throat.[/spoiler](http://www.dsboards.com/epimgs/0471-2.jpg)If Ang uses her powers, says Vicki, no one in the family will be spared--this scares her terribly. Vicki notices how remote Barnabas seems, but he assures her he's all right, he just felt weak (translation: he felt like biting her for a moment there).
Quentin is clearly nervous when Beth joins him in the drawing room. You're just the person I wanted to see; he says. Beth doesn't believe him. Why should you? asks Quentin you never believe anything I say. Very little, she admits. It was true, he insists--sometimes, at night, this house. . .when I think of all the strange, inexplicable things that have happened here--as if a curse had been put on it. I don't believe in curses, she assures him. You're much too modern, chides Quentin. I hope so, she says. I like that, he says, his face very close to hers--no matter how far away I've gone from Collinwood, I seem to belong to it more and more - that makes me very unhappy. It must, says Beth quietly. He observes that for once--you're not snapping and biting, taking the opposite side. I know what it's like, wanting to get away from certain people and things, she says--I'm sorry I said that--you won't stop trying to find out more about it. We are friends, Quentin reminds her--after years of battling, and in two minutes, we're friends--perhaps you'll even agree we can be more than friends. She changes the subject.[/spoiler]
Barnabas, left alone with Lang, takes the harpoon into his hands and explains that Roger was not there for an examination, but to kill Lang![/spoiler]
Lang takes back the harpoon, shocked at Barnabas' pronouncement. He asks Barn if he's lost his mind.(http://www.dsboards.com/epimgs/0472-3.jpg)No, replies Barnabas--but Roger temporarily lost his. Why would he harm him, asks Lang--Roger is a wealthy man with a rep to protect, why would he kill someone he barely knows? Barn explains Roger had no choice--he didn't know why he was there--Roger was possessed by Angelique. Ridiculous, insists Lang--this witch lived 200 years ago, so how could she reach across time to possess Roger? Her spirit is very much alive and determined to perpetuate the curse, says Barn. Lang, a man of science, doesn't buy this. What about your brutal headache and blindness? Barnabas reminds him--a spell caused by Angelique and executed by Roger from Collinwood via black magic. Roger stole your headpiece, says Barn, returning it to him. I misplaced it, insists Lang. No, it was stolen, says Barn, found in Roger's room. Lang sits down, considering all this information with astonishment. It's true, says Barnabas, and although Roger failed to kill him, Ang will order him to try again.
Angelique closes the double doors and says, Quentin, when Barnabas came to ask my help, I had to decide whether or not I would give it--I've decided to do help you get to New York--on one condition--that you take me with you. Angelique...he says. Is the idea so abhorrent to you? she asks. I was willing to marry you and live here at Collinwood--"What choice did I have, after you threatened to kill Amanda?" he asks, eyes half closed. Amanda! she rants, there's a new life waiting for you in New York, a new life with HER, that's what you keep thinking, her, not me! You answered your own questions, says Q--her, not you. She sits beside him and presses her hand to his face. "Look at me," she says--there's so much I can do for you, if you'll only let me--at least let me try to make you happy--I can, I promise you I can--please take me to New York with you. I can't, he says, and even if I told you I'd promise not to look for Amanda, I couldn't keep that promise--every night I went to bed, I'd be thinking tomorrow might be the day I'd find her. Then you aren't willing to pay my price for helping you? she asks. I can't, he says, yawning. I see, she says softly, very disappointed. My eyes are burning, he says, I swear I'd do anything just to get some sleep, close them for a while. But you can't, she says, grabbing his arm. "It must be quite wonderful to be loved the way you love Amanda Harris," says Ang wistfully. It only happens once in a lifetime, he says (and should have been Beth!).[/spoiler](http://www.dsboards.com/epimgs/0882-2.jpg)With ordinary people, yes, says Ang, teary.
he asks her to stay, please--"Stay with Adam." She can't stay long, but she will help him, if he wants. He says he does, gazing at her with love. She notices how many more words he can say, and wonders how. Yes, Adam learn very good, he says (grammar isn't amongst his accomplishments). He displays that he knows the words ground, wall, door, outside, inside, feet, clothes, hands, face, hair (and of course, he touches her hair as he says it). She's amazed, wondering who taught him all those things. Stokes, he says. Joe was right, she realizes, Adam was staying with the professor--why are you here, why aren't you with Stokes? He couldn't, he says--he can't return there--Stokes angry at me for being bad--he didn't tell him that, exactly, and Stokes doesn't know he's in the root cellar, but he knows the professor is mad. Carolyn teaches him to say "I" instead of Adam, and asks if he was happy with Stokes. Yes, he says, Carolyn wants to take him back there, but he refuses. You have no food and it isn't safe, she points out, and Stokes must realize that when you ran from his house, it was out of fear and he isn't angry. No, says Adam, I can't go back there. Carolyn decides to get Stokes, bring him here, assures Adam he isn't angry--stay-and don't leave before I get back, she says.[/spoiler]
He tries to sidestep around her accusation that he paid Vicki a visit the night before, but he defensively claims he only wanted to LOOK at her.[/spoiler](http://www.dsboards.com/epimgs/0300-1.jpg)Bull, says Julia, I know what you are and what you REALLY wanted.
That's not mine, I gave it to you, says Burke seriously. It was just in fun, says Carolyn. I never do anything in fun, says Burke, gazing at her intently, the pen is yours. I couldn't, she insists, it must have cost a lot. Do you think I would give you anything that didn't cost a lot? asks Burke, handing it back--I insists that you take it. She thanks him very much and takes it back. Yes, perhaps you can write down your innermost secrets with it, suggests Burke. I have no secrets, says Carolyn, gazing at the pen. Then you're very fortunate, says Burke. Maybe I'll use it to write down what happens to me every day--I'll start a diary, she says.[/spoiler](http://www.dsboards.com/epimgs/0042-3.jpg)You're right, says Burke, everyone should have a diary from the day they are born--the pen is yours. She examines it, takes off the cap (it's a fountain pen), replaces it.
Collinwood - Bags are packed, waiting in the foyer. Quentin exits the drawing room with a note from Samantha (don't ask me how that happened) the contents of which he dubs "beautiful:" "Dear Quentin--I've done you a great injustice in regard to Tad--whatever else went wrong between us, it didn't involve Tad--I lied to you, he is your son--for Tad's sake, you must know the truth--Samantha." They hug each other joyously. Come on, the carriage is waiting, says Quentin.[/spoiler]
Tad and Carrie come in, expressing fear over being taken to Windcliff. It's a hospital or something, says Carrie.[/spoiler](http://www.dsboards.com/epimgs/1100-3.jpg)Before night! says Tad. Don't you understand? says Carrie--if they catch us, we won't be able to bring Gerard back! You must go, insists Daphne. We can't--Gerard! says Tad, holding her hands. He'll understand, says Daphne. He will NOT understand, you know he won't! says Tad. He never understands, adds Carrie. Gerard will understand, insists Daphne, you must do whatever he tells you to do. She puts placating hands on their shoulders, and, even as Tad cries no, pushes them out the door and orders, return to Collinsport (I'm assuming Collinwood). Run! Daphne says, closing the door after them.
We've got to find Quentin, insists Roger. I can't believe he did this, says Liz. No one wants to, says Roger, but... He was always so fond of Carolyn, Liz reminds him. He's not as he was, says Roger. Why is he like he is, why? demands Liz--what made him this way--if I'd only listened to Carolyn when she said she'd seen him. She must have been telling the truth, says Roger. Julia listens to everything; hearing this latter, she carefully asks Liz, when did Carolyn say she saw Quentin? Yesterday, she said, reveals Liz. Roger speculates--Carolyn must have gone to the tower to try to see him again. If I'd only talked to her, reasoned with her, laments Liz, instead of just dismissing her story as a mad delusion. I'm guilty of that, too, confesses Roger--Carolyn told me a secret, one (he turns to Julia and stops)--it's all our fault, really, he says, we've gone on living in this house half suspecting Quentin was here, ignoring all the signs that pointed to more violence. Liz rises from the sofa--I'm going to my room, she announces. I'll go with you, Julia offers. No, says Liz, please--if there was only something constructive I could do to let me know I won't feel this way forever. You shouldn't be alone, insists Roger. I want to be alone for a few moments, says Liz, and leaves.[/spoiler]
Philip can't guess what country it's from. Megan asks Barn if he knows where it's from, but he says he knows little about it--it was given to him. Surely whoever gave it to you must have told you, says Philip, but Barn says no[/spoiler](http://www.dsboards.com/epimgs/0891-1.jpg)He's never looked inside, and asks them if they think that strange. Megan smiles and says they're very curious people. Philip asks if he'd consider selling it, but Megan tells her hubby they could never afford it. Barnabas doesn't want it in a shop, but they assure him they would never do that with it. He tells them he can see they are true collectors, and that they will discuss it another time.
The lady named Angelique may be a most formidable enemy, or a most valuable friend, says Victor. I regard her as an enemy, says Aristede, since she tried to choke me. The hand doesn't always bring out the best in people, says Victor--she would kill to get it, as would you, or I. I vow to kill her next time I see her, says Aristede. I doubt that, says Victor--I'm convinced she has supernatural powers, which means it will be tough to get the hand from her. We must get the hand, says Aristede. Victor counters, "*I* must get it!" Allow me to get it back, begs Aristede. This calls for careful planning, says Victor, and finesse--we will have to stick around longer than I anticipated[/spoiler]
David stands at the top of the stairs, Maggie at the bottom. I'm coming to get you, she says, Quentin can't stop me, he doesn't have the courage--David belongs to me and his family. She heads slowly up the stairs, begging David come to her. In one leap, he runs into her arms. She calls out his name, hugs him, tells him there's one more thing you must do[/spoiler]
Blair House living room - Angelique looks out the window. In a few moments, the sun will rise, she says, and when it sets again, she will summon Barnabas to come to her. He won't be able to resist her, she says dreamily, and he will be hers at last. She smiles at this thought. Nicholas enters. She tells him she must go to her coffin. He insists on speaking to her--don't argue, he orders, this is vital--it's Barnabas and you are concerned. Stay away from him, orders Nicholas. But you told me. . .she protests. Nichilas knows, but he must change his mind because of Adam. They forgot--Eric Lang's message on the tape recorder! It said there was a connection between Adam and Barnabas, and if anything happens to the latter, the same would happen to Adam. And something has--he has wounds on his neck, says Nicholas, and is weak and dazed, just as Barnabas is--you must not see Barnabas again. When I rise, I'll need Barnabas, she insists. Call Joe, Nick orders. I don't want Joe! Ang says.[/spoiler](http://www.dsboards.com/epimgs/0607-2.jpg)Too bad, says Nick, summon him anyway. Ang accuses him of wanting Joe summoned because of Maggie Evans and Nicholas' involvement with her--you want her for yourself. Beside the point, says Nicholas--the sun is rising, are you going to do as I say? She agrees to his terms; he calls her wise. She goes to her coffin, slowly, first turning to give him a look before heading to "bed."
Joshua sets up Barn's portrait in the drawing room. You didn't tell me everything, she says--you must trust me, tell me all--I need a name for this enemy. "My son. . .my son is a vampire," Joshua says painfully, made so by the curse[/spoiler]
Barnabas and Julia get into an argument over David's fate.[/spoiler]
Cottage - Sam looks at the painting, tortured. What made me paint this? he agonizes--I only wish I knew. Pop, says Maggie, you've painted things before and haven't known where the idea came from, she says. Sure, he says, but painting like this, with this kind of intensity, had to come from some place specifically! I'm sure there must be an explanation, comforts Vicki. You've been thinking about Laura Collins ever since she came back, says Maggie--it's obvious to me where you got the idea from. OK, he says, I'm willing to buy that, but that doesn't explain the mood, the feeling, of this painting--the control it's got, the feeling AI got when I worked on it--all the fire in it!--why is it such a violent painting? It's because I explained the legend of the Phoenix bird, says Maggie--I remembered it affected you--it's a logical explanation for everything. I've disliked my canvases before, says Sam viciously, but I've never hated one before--I hate this one, I can't stand to look at it! Take it easy, urges Maggie I feel that thing owns me, says Sam, dictates to me--commands me--I don't ever want to put a brush to it again--I don't want to look at it anymore![/spoiler]
Look, why don't you let me take you home? Joe asks Bill. Bless your heart, says Bill, I don't need to be taken anywhere--you're thinkin' this is gettin' the better of me, eh? I didn't say that, Joe assures him. You're thinkin' Bill Malloy is takin' the secret drink and you've discovered his vice, says Bill. Of course not, says Joe, but Bill plows on--like Sam Evans, only I must say Sam makes no secret of it, only a secret of WHY. Mr. Evans has been drinking as long as I can remember, says Joe. You're memory doesn't go back very far--no reflection on you, says Bill, it just means that you're too young to remember when Sam Evans was as happy a man you could find in the township of Collinsport.[/spoiler]
Come closer, begs Laura. You'll leave again! accuses Nora, like you always do! When you're grownup, you will understand, Laura promises. Where are you, cries Nora, why can't I see you? Laura encourages her to look into the fire if she loves her--closer. No, I'm afraid, cries Nora. Trust me, says Laura. Come here and take me away, begs Nora. I must do it this way, her mother insists--I didn't want to leave you, that night in Collinwood, I went to your room, saw you there, sleeping, but they wouldn't let me take my children--they had taken them away.[/spoiler](http://www.dsboards.com/epimgs/0735-2.jpg)Nora promises "mummy", I'll come to you. Come closer, urges Laura, look into the fire, where I'll be smiling--do you see my face now? No, says Nora. Come closer, says Laura, come to me! Finally, Nora spots her mother's face. Laura tells her daughter, come closer. . .
She's surprised he doesn't know who she is, I was sure you'd remember--we knew each other long ago. He seems puzzled. His face, his hair, his hands are all the same, points out Vicki--you are Peter Bradford.[/spoiler](http://www.dsboards.com/epimgs/0466-2.jpg)I'm Jeff Clark, he corrects her, sorry to be upsetting you.
She wants him to wait 15 minutes for an injection,[/spoiler]
My demands on you are very few, says Flora, but I must insist you remain in your room after diner, and pay no attention to any sounds you hear outside your room. Stella nods--yes, she says, just as you wish.[/spoiler]
Gerard exits the drawing room and joins Joanna and Gabriel in the foyer. I'm sorry for coming so late, says Joanna, but I must see my sister--it's very urgent. I'm afraid she's not here, says Gerard. Do you know where I might find her? queries Joanna. No, I don't--she left the house, I don't know when she'll return, says Gerard. Gabriel listens with interest. Do you mind if I wait? asks Joanna. Can't you take care of your business with your sister in the morning? asks Sam curtly--it's very late, you know. I know my presence here is unwelcome, says Joanna, but as I said, my business is very urgent. We understand, says Gerard--why don't you wait in your sister's room?[/spoiler]
Daphne, realizing that death is imminent, presses her forehead to the door and begins to sob. Suddenly, the flames disappear. She backs away from the door, staring around the undamaged room. Finding the door opens easily, she quickly leaves.[/spoiler](http://www.dsboards.com/epimgs/1101-1.jpg)You were doing something to the doll's house, weren't you, Gerard? asks Carolyn--you were trying to destroy it--I won't let you do that--it isn't yours to do with as you wish, it belongs to Carrie! Gerard glares at her. I gave it to her for her birthday, and she's so devoted to it--I will not allow anything to happen to it, Carolyn (Leticia?) insists--why must you always be so cruel, Gerard--why have you no feelings for others?--poor Carrie never did anything to you, why would you want to hurt her--or was it someone else you were trying to hurt?
We see the sisters face to face now, Angelique stripping off the long, white gloves she wears in her portrait as Alexis holds her coat closed in abject fear. The dead cannot live again, insists Alexis. "They can, to help the living," insists Angelique--how my body remained preserved, that will remain my secret, but I always knew that my spirit would never die, that someday someone would have to come and open my casket, and all that would be needed was the touch of a human hand--you gave me that! The warmth of your touch brought the life back into my body!" Angelique is stunning, exultant, but Alexis still doesn't believe it. That's what's happening now, and of course you don't believe it, mocks Angelique, but it is happening--you can feel that, can't you? It's so cold, whispers Alexis. And you will become colder, and colder, until all the warmth is gone from your body and you die! promises Angelique--I must have your warmth to sustain myself! No! protests Alexis. "Keep looking into my eyes, Alexis," commands Angelique. No, please! begs her sister. "You cannot resist me--you will keep looking into my eyes!" cries Angelique. "NO, I DON'T WANT TO DIE!" screams Alexis. Your time has come, says Angelique cruelly, and you must face it, you must accept it, you have only a few moments left, and in that time, you're going to tell me all I need to know before we change places. Change places? asks the shivering Alexis. You will take my place in the coffin, says Angelique, advancing on her sister, and I will take yours at Collinwood. NOOOOO! howls Alexis futilely.[/spoiler](http://www.dsboards.com/epimgs/1001-1.jpg)Thunder rolls and lightning flashes overhead as Trask returns to stand outside the tomb
Sabrina rises from her chair and tells Sky, I think you friend Nicholas has forgotten you. This pisses off Sky, who asks, what do you mean? I don't hear them, they must have gone away, says Sabrina. Nicholas promised to speak to me, says Sky--you just sit and relax.[/spoiler]
He unlocks the door and finds the outer room empty--except for Angelique, who taunts, "From tycoon to lackey--my, how the mighty are fallen." (A favorite line of many, including me.) She grins at him.Though not so classic for Lara Parker as in a piece she wrote for The DS Companion she confused the wording of the taunt and thought she delivered it to Nicholas!! [ghost_rolleyes])
it's Judith. She expresses her condolences and offers help in his loss. He apologizes for being startled at seeing her there--I should have known a woman of your high character would respond to anther's grief. I didn't know Minerva well, begins Judith. She wasn't easy to know, says Trask, bowing his lying head--but she was a devoted wife and good woman. I felt that the first time I met her, agrees Judith. Choking up, Trask says, that's very kind of you--I tried to be brave about this, because it's what Minerva would have wanted, but it's so difficult. I understand perfectly, she assures him. She was his strength, sighs Trask, my whole reason for being, and her passing has left a void which may be impossible to fill... Judith, her hand on his arm, says, Minerva would be the first one to tell you your life must go on. He covers her hand and tells Judith, you knew Minerva better than you thought you did--my life must go on, he agrees, but what of the school?--what will become of it without Minerva? The school still has you, points out Judith. No, dear lady, he says, at best I'm a competent administrator, but Minerva was the driving force, the life blood of this institution, and without her, the future seems very bleak. With all due respect, says Judith, I don't believe that--I have faith in you, and the future of your school. "Miss Collins," he says, taking her hands, "I am not deserving of such faith." (Or much else!)[/spoiler]
Carolyn stands beside her mother's coffin, thinking over what Maggie told her about no one being able to return from the dead. Carolyn, crying, clasps her face and moans. I must go on believing you'll be with us again, she tells herself.[/spoiler](http://www.dsboards.com/epimgs/0671-3.jpg)In her coffin, Liz, eyes closed, tells Carolyn, "I AM alive, and must find a way to tell you--you're in terrible danger!" "Good night, Mother," says Carolyn. Liz wonders why she can't make herself heard. Silently, she begs Carolyn to stay with her. Turning away from the door as if she'd heard something, Carolyn dismisses it and leaves the cute little tomb they built for Liz. The werewolf is in the woods, prowling, growling.
Peter and Jeff are one and the same, insists Eve--I also recalled I loved Peter enough to kill for him. Philippe Cordier, guesses Nicholas, who says he knows all about her past; YOU are the one in the dark. Philippe and I came from France after the French Revolution, and I fell in love with Peter here, she says--Philippe tried to keep me away from Peter, so I knifed him to death. You weren't very nice in your other life, says Nicholas. Now I understand my urge to kill Adam, she says. An urge you will never fulfill, says Nick. You can't force me to love Adam, says Eve. Nick says you must pretend--someone as fundamentally evil as you are can do it--forget Peter, orders Nicholas--I have my ways of making you forget.[/spoiler](http://www.dsboards.com/epimgs/0611-1.jpg)They smile at each other. I don't believe your threats, she says, if you were going to punish me, you would have done it before. Grandly, she leaves the room, running into Adam, who demands to know where she's going. She says nothing, but leaves the house in a flutter of filmy black.
Joshua comes downstairs and tells them that there's no need for a doctor--"Your mother is dead." Barnabas face crumples with grief. Joshua asks Ben to leave them, he wants to talk to Barn alone--but stick around, he'll need him later. Joshua assures Barn Naomi died quietly, but this is little consolation to Barnabas. Joshua feels he's to blame for her death, too, she wouldn't have taken her own life if she felt she could turn to him. Barnabas says he never heard his father speak this way before. She told me she loved me, says Joshua. "You didn't know?" asks Barnabas, but Joshua said he thought she'd stopped loving him long ago. "Because you stopped loving her," says Barnabas. "Perhaps," says Joshua--I wanted to love her, she was my wife. But you didn't, says Barnabas. Uncomfortable, Joshua suggests he's incapable of loving anyone. It could be your salvation, says Barnabas--you can't love me, so you won't be a victim of the curse. (As if he isn't already a victim--he's lost his sister, daughter, wife and, for all intents and purposes, his son!) The curse must be ended, insists Joshua, and he'll do it. He can't allow this to go on any longer, anymore people to die--he must destroy him
Joshua comes in and tells them there's no need for a doctor--"Your mother is dead." Barnabas' face crumples in grief.[/spoiler]
Barnabas continues telling Julia that for his father, the agony of that terrible night had only begun--he still had to face the task of disposing of me. Joshua insists the curse must be ended. Barnabas tells him it cannot be ended, but Joshua says it will, and he will do it--I can't allow more people to die--I must destroy you.
[/spoiler](http://www.dsboards.com/epimgs/0230-3.jpg)Barnabas grills Willie--how did he know people were coming to search for Maggie, and how did they know where to look? Willie denies giving them any information, but Barnabas doesn't believe him; he lifts his cane high and brings it down on Willie, who cries out in agony.
I didn't realize that I was keeping David from his studies, says Laura. I didn't mean to blame you, it's not your fault, says Vicki, but you must understand, with Mrs. Stoddard so sick, we have to try and keep things running as smoothly as possible. I agree with you completely, says Laura, you're a very bright, loyal girl. Thank you, says Vicki. Did you notice how I backed you up about David's studies? Yes, says Vicki. And how willing I was to make adjustments? says Laura. Yes, you saved me from quite a scrap with him, agrees Vicki. I'm very glad about that, says Laura--however, I am a little disappointed in you, Vicki. Why? asks Vicki. Because you were so helpful to me in that very difficult beginning with David, says Laura--but right now you're not backing me up--I wonder why? Vicki turns away, uncomfortable.[/spoiler]
Doesn't it bother you that the manager of your plant seems to have disappeared from the face of the earth? Asks Burke. Of course it bothers me, says Roger--I've been making inquiries, asking questions. With what results? asks Burke. None at all, says Roger--perhaps I should ask my son to look into his crystal ball. Never mind the cracks, says Burke. And you never mind sending gifts to my son, especially gifts of that nature, says Roger. What's wrong with what I sent him? asks Burke. It was possibly one of the most inappropriate things you could have selected, says Roger, for an over sensitive, over-imaginative child--you must have gone to a great deal of trouble to pick out something in such poor taste! Burke grins mischievously and says he thought David might get a kick out of it--Lord knows, the kid has little enough fun in that tomb you call a home--anyway, that's neither here nor there.[/spoiler]
Stokes observes the cheerless surroundings and hands Adam a bunch of books, a writing pad and some pencils. Adam is pleased, but unhappy Stokes can't stick around. Stokes says Carolyn will help him, but first. . .Adam admits to liking Carolyn very much, but Stokes warns him against liking her TOO much. Stokes feels ill equipped to answer Adam's why, wishing he'd had the foresight to marry and raise a family. He sits down beside Adam and orders him not to panic if anyone else discovers him. Just tell Carolyn, says Stokes, she's his friend and knows what's best for him--obey her wishes--most important are your studies, says Stokes; everyone has warm feelings toward certain other people, which is fine, but for Adam, learning must come first--the sooner he's educated, the sooner he can leave the room and go out among other people.[/spoiler](http://www.dsboards.com/epimgs/0544-3.jpg)Adam agrees to concentrate on reading and writing.
Vicki sits on her window seat, gazing out at the estate. Liz knocks at her door. Vicki lets her in. Liz says she wanted to be sure her windows were tightly shut; she thinks there's going to be a storm. Liz leans out to close them herself. I can take care of that, protests Vicki. It's no bother, says Liz, closing the windows. Carolyn's gone to town, says Liz--we had a call, David's there, she's gone to try and find him. Then he's all right, says Vicki eagerly. As far as we know, says Liz, looking at her hands--I'm a foolish woman, and I say many foolish things--I want to apologize for the way I talked to you. I know how worried you must have been, says Vicki. Worried?--yes I was, and still am, says Liz, but I'm afraid I was trying to deny reality--and trying to make you suffer for it. I'm sure David will be all right, Vicki assures her.[/spoiler](http://www.dsboards.com/epimgs/0029-3.jpg)I hope so, says Liz, he belongs to this house, and there's no peace here, not for me, or Carolyn, or poor little David--and I'm not sure there ever can be peace.
David asks if he can go to his room now. Don't you want us to tell you more about your mother? asks Liz. I know all there is to know, he says--can I go? I suppose so, if you want to, says Liz. I do, says David, and leaves the room. Well, says Roger, that was certainly strange. Certainly was, agrees Liz. I imagined a hundred different ways he would take the news, says Roger, but I certainly didn't think he would be quiet and thoughtful--it's so unlike him. How could he have known what I was going to tell him? asks Liz. What I said earlier must be true, says Roger, he must have heard us talking about her. Roger, says Liz, he was able to describe the coat he had on--it was blue, and he said he saw her sitting over there and she was--he said she kept staring into the fire and I noticed that, too--how could he have known all those things? He probably saw Laura, says Roger. He couldn't have, says Liz, he was sound asleep when she was here. We thought he was asleep, says Roger, he must have sneaked down and taken a peek--that's the only logical explanation I can think of. It's logical, agrees Liz, but it is correct? What are you saying? asks Roger--are you saying the boy has extrasensory perception? I don't know what I think, says Liz, I just know I looked in on him earlier and he was asleep--he was still asleep when Laura left the house--there is no way on earth he could have known how to describe those things.[/spoiler]
Willie knows Barnabas left the cane behind on purpose, but he drops that line of questioning when ordered to go do his usual grisly task. Willie's almost crying, begging, saying he'll go crazy if he has to, but Barnabas orders him to do it[/spoiler]
Josette tells her aunt she wasn't feeling well, and asks her to go with Barnabas to the cabinetmaker to choose their furniture. Natalie is perturbed, reminding Josette she'll have to live with that furniture for the rest of her life--she should pick it out herself. Natalie delicately asks if Josette is fearful of marriage--or Barnabas (I guess she was talking about sex). No, Josette assures her, she'd marry Barnabas tonight if she could. Natalie questions her further, and mentions how handsome Jeremiah is. Josette nervously disagrees.[/spoiler](http://www.dsboards.com/epimgs/0375-2.jpg)Natalie asks her niece to go along with Barnabas to the cabinetmaker, but if she wants her to cover for her, she's going to have to be more forthcoming. . .
A pleased-looking Cassandra examines the foyer. Barnabas gazes carefully at her. She wishes she and Roger weren't going on a honeymoon; this house is more foreign to her than Martinique would be. More so, suggests Barn, and she asks what he means by that. She remarks that the portrait is a perfect likeness of him, and Barnabas explains that is isn't his portrait, look at the clothes--he's an ancestor. How unusual the likeness, she says, and Barnabas excuses himself. "Don't go," she says, a little too forcefully. He says they'll see each other again soon. "Inevitably," she says. "Yes, inevitably," agrees Barnabas, and leaves. She smiles at the portrait.[/spoiler]
Julia wonders what to do about Amy, Chris' sister. Amy doesn't want to go back, but Julia says you must go--you shouldn't have run away; your treatment is important. Amy says she only needs her brother, and she'll find him. Julia promises to have Chris come to see her at Windcliff tomorrow. Heartbreakingly, Amy begs not to be sent back; Chris promised her he'd stay and never go away again--he'll take care of her. Julia explains--I'm responsible for you, Amy. Chris will do that, says the little girl. I haven't been able to reach him, explains Julia.[/spoiler]
As Sandor works on forgery practice, he finds Barnabas standing over him, greeting him good evening. Sandor isn't happy at being caught, and tells Barnabas he's working on an old gypsy game. Sandor crumples it up and is about to toss it into the fire, but Barnabas grabs it before he can do so, opens it, reads. "Seems to be worth your time, or worth it to someone," comments Barn shrewdly. Sandor says I couldn't help it, it just happened--I can get out of it, forget it--"You forget it, I forget it," says Sandor. As simple as that, says Barnabas, but the people who hired you won't let you forget it. Sandor says I don't know what to do, I don't want anymore trouble in my life. Barnabas says he can imagine what happens to someone who forges wills. . .[/spoiler](http://www.dsboards.com/epimgs/0711-3.jpg)Sandor doesn't want to be turned over to the authorities and go to jail. Sandor covers his face and seems to cry, sobbing, "And bring disgrace on my family!" We mustn't have that, says Barnabas soothingly (and humorously, this scene was pretty funny, and Barn is grinning) Barnabas agrees to keep the authorities out of it, and admires what a talented fellow Sandor is--you just need "guidance" for your pen.
It is time, he tells himself. He sits in his favorite chair. We hear breathing emanating from the Leviathan box, and see flames, then the altar in the woods. Barnabas is there, making hands gestures, calling to Oberon, who appears, calling him Master. Barnabas is in need of his guidance, tell him, man of earth, how he will know the chosen ones--tell him so he will make no mistake in this most important moment in time. One will wear the sign of the Naga, says Oberon, and they will come to you--you will hear a knocking at your door, will wake you from your sleep, when you open the door, they will be strangers, but you will know them.[/spoiler](http://www.dsboards.com/epimgs/0890-4.jpg)And I will know to trust them, to lead them through the mysteries that will make them respond, and do what they must do if all is to go as it must. Oberon tells him he will know the sign of the Naga, the sudden knocking at the door.
you haven't even spoken since you called Collinwood. Perhaps we should have stayed away longer, he suggest. You were the one who wanted to go back, she reminds him. A mistake, says Quentin. Why do you hate going back so much? she asks. I didn't say that, says Quentin, draining his glass. You obviously do, says Maggie--it's Angelique, isn't it? He stands, moving away from her. Oh, Quentin, she says, I' m sorry, I shouldn't have mentioned her. He's moved to the terrace. It's me, isn't it? she asks--I'm why you're worrying about going back--She clings to his arm--I'm much more efficient than you think, I'll manage the house well. Miss Hoffman's very good at that, he says, so don't worry about it. Oh, Quentin, she begs, noting his dark mood, please love me! She goes into his arms. I DO love you, he assures her, I do. I know you do, she says. Never forget that, ever, he begs. They kiss, a nice, long, hot one. If you don't want to go home tonight, says Maggie, we can stay there in Boston, go to the concert and then... No! he says firmly, we leave tonight. He hugs her, obviously upset.[/spoiler]
Barnabas, it's almost dawn, Julia reminds him. And another night's gone by, laments Barnabas, and each new clue that we find leads to so many more questions--three meaningless names. They're meaningless now, says Julia, but in time, they don't have to be--we'll learn who they are. Yes, in time, agrees Barnabas. He walks to the cellar and closes the door behind him. Julia is thinking hard.[/spoiler]
may I ask who you are? Roxanne Drew, she says. He repeats her first name--it's beautiful, he praises. Are you planning on staying at Collinwood? she asks. I hope to be, he says, gazing into her eyes, but my plans aren't finalized yet. They make serious eye contact--I trust you're no longer afraid, he says. No, I'm not, she agrees, moving in close--if my father knew that I stopped to talk to a perfect stranger, he'd have apoplexy. Barnabas smiles--I hope you won't consider me a stranger for much longer, he says. They smile at each other. You're the most amazing man, she says--I really should be on my way. Miss Drew, may I see you again? he asks. You're very direct, aren't you? she asks. You may not understand this, he says, but when I first saw you, I had the feeling that somehow we were always destined to be together, to meet.[/spoiler](http://www.dsboards.com/epimgs/1114-3.jpg)You're a most unusual man, Mr. Collins, she says. Barnabas, he corrects--may I call on you at home? My father is out of town on business for a few days, she says--we have a guest in the house, but he retires very early--I'd be pleased if you'd call on me anytime you wish. Getting near kissing distance, he assures her, I will. He kisses her hand and says, "Till we meet again." Good night--Barnabas--she says, and drifts off. He looks after her, already in love. His forehead creases when he realizes, I can put her life in danger--don't see her again, he orders himself--"I must stay away from her!"
I'm sorry for upsetting you, says Flora--the West Wing has been on my mind all day--your father went there last night. Oh no! cries Melanie. They found him in the corridor, says Flora, outside the room. Why does this have to happen? asks Melanie, upset. Nothing has happened, comforts Flora, we found him. But if he goes there one more time, he will die, wails Melanie--he can't die!--he can't--I love him so--he can't die--we couldn't stand to have that lottery again. Don't call it that! insists Flora--never!--darling Papa's not going to die, I'm sorry I told you that. You had to tell me, says Melanie, we should leave this house, all of us. A generation ago, says Flora, William Collins found that didn't help--it happens to us wherever we go. We must keep Papa alive, insists Melanie.[/spoiler](http://www.dsboards.com/epimgs/1194-2.jpg)We will, Flora assures her--now, Papa wants to see you, but you must not mention any of what happened--because he doesn't seem to remember what happened last night--we don't want him to, do we? No! agrees Melanie breathlessly, I only wish no one remembered. The two women leave the room, Daphne watching them in consternation.
Eerie music plays to great effect as Vicki wipes nervous palms on her shirt. The power comes back on and she blows out the candle. She walks slowly toward the open doors, the candlestick in her hand--just n case (which is probably used often as a weapon on DS). She starts to ascend the stairs but hears a door slam. Roger enters through the kitchen. Vicki asks if he just came in. Yes, he says, looks like I just managed to miss the storm. When the lights went out, says Vicki, voice shaking, I saw someone standing in the doorway. Must have been me, he says, I was on my way to the basement to replace a fuse. He goes into the drawing room to pour a drink. Vicki asks if he's sure--she called out and no one answered. Roger says he didn't hear a thing[/spoiler]
Old House - Barnabas is assuring Sam that his lovely daughter's future "is assured"[/spoiler]
Drawing room - Forbes flirts with Millicent, who is clearly innocent of the wiles of handsome men. Yes, she knows her broker, banker and lawyer, but that's about it. He promises to teach her about men, and she calls him wicked. He admits he is, and she likes his honesty. Nathan pours it on thick, telling her SHE made him honest just by looking at him. He showers her with outrageous compliments, she calls him forward,[/spoiler](http://www.dsboards.com/epimgs/0377-3.jpg)and he laughs and takes her hand in his, promising to show her a whole new world.
In the gazebo, Vicki waits. Julia shows up, asking what's wrong--she got Vicki's note. Has something happened to Barnabas, asks Julia anxiously. "Not yet," says Vicki--Cassandra looks like Angelique's portrait, and she IS. Julia doubts it, and cites Peter and Jeff, and how Jeff knew how to get into the secret room. Julia insists they can't be inundated by people she met in the past. Vicki points out that Angelique was a witch and a witch can return as a ghost, like Sarah. I just bandaged Cass' ankle, says Julia, I know she's human. Vicki fears if they don't do something, Barnabas will die...[/spoiler](http://www.dsboards.com/epimgs/0474-3.jpg)Julia reminds her THAT Barnabas isn't here, which confuses Vicki. No, but why did she come back? Only to settle a score with Barnabas' ancestor, the present Barnabas--but why, asks Vicki. Julia doesn't know.
Rachel drinks some water and Barnabas takes the glass and asks if it helped. Yes, she says, thanking him. He asks what happened. Nothing like it has ever happened before. She kept murmuring "Widows' Hill," but Rachel has no idea what that is. It's a place that overlooks the ocean, he explains. She can't figure out why she would say it when she doesn't know what or where it is. He suggests she overhead someone in the house mention it, but she doesn't think so. What else did she say? He turns away from her, but doesn't tell her what else she said beyond Widows' Hill.[/spoiler](http://www.dsboards.com/epimgs/0712-2.jpg)It makes no sense, she says, she thought she was dying, and suddenly was all right. She insists there's something wrong with her, but he disagrees. It's the only answer, she cries, falling into his arms. He surveys her pretty neck, the one Ang just strangled a few moments before, and has to fight the urge to bite into it.
without question...without question...without question... Megan murmurs the words in her sleep, then wakes up, calling Philip. He's gone from his bed. She's frightened, panicky. When he enters the bedroom, carrying planks of lumber, she asks, where were you? He puts down the planks and tells her the windows must be closed off so no light can come in. Who told you to do that? she demands. I don't remember who, replies Philip, but it must be done--without question. Megan repeats the words--we both had the same dream, she says.[/spoiler]
Down in the cellar, standing by the open coffin, Barnabas tells Carolyn, I'm worried about that book. He's drunk, says Carolyn, and will remember nothing in the morning. (Although he might wonder where his cousin's room is.) I'm not so sure, says Barnabas. I know him, you must see that, she says. Guard me carefully, says Barnabas--I'm in a an unfamiliar time without any touchstones, I'll need all the help I can get.[/spoiler]
May I ask who this unfortunate victim is to be? says Gerard. Hearing the front door slam, Gabriel checks his pocket watch--your timing is excellent, he says--the first person who comes through that door is your victim. Gerard turns to look. Samantha enters and innocently appraises them.[/spoiler](http://www.dsboards.com/epimgs/1115-3.jpg)Noting Gerard's upset face, Samantha asks, what's wrong? Nothing, he says. If my brother in law is disturbing you, she begins. We were having a friendly conversation, interrupts Gabriel, until you interrupted. You have such a short memory, Gabriel, smiles Samantha--I go where I please--now you may continue your friendly conversation. She exits. Gerard quickly closes the doors--Gabriel, he says, you're out of your mind. Don't tell me you're surprised, hisses Gabriel, she is the logical victim, isn't she? There must be another way to get the family money! insists Gerard. There isn't, insists Gabriel, I've tried to reason with Father, but his mind is too far deteriorated--Samantha hates me, she always has--as long as she is alive, my days are numbered in this house, and the only solution is to dispose of her--are you still with me or not? I need time to think, says Gerard, slapping his head with his hands. I don't have time--I want your answer! says Gabriel.
[/spoiler](http://www.dsboards.com/epimgs/0034-1.jpg)(Scene not summarized.)
Barnabas takes a candle to the window and sends Maggie a telepathic message--Come with your father tonight to the Old House. I want to see you, Maggie. She suddenly feels well enough to drive Sam to the Old House, and says she overheard Willie come to the door, which Sam insists was impossible. Something improved her hearing, and the flirtatious tone in her voice says it's something Sam would not be too happy about![/spoiler]
Josette, in her room, fearing the pox, desperately tries to wash off the brand, but it doesn't come off until Angelique,[/spoiler](http://www.dsboards.com/epimgs/0377-2.jpg)who claims she had a similar mark, uses the rosewater, which easily removes it. Josette hugs her maid, grateful, and asks Angelique what she would do without her. Angelique, hugging back, her eyes cold, tells her mistress she will never let her find out.
Roger opens a bottle of champagne and promises Cass they'll leave as soon as her ankle is better. Cass doesn't mind the delayed honeymoon--she's happy to be with him. He so often thought they were wrong to return to Collinwood. Cass is used to people not liking her at first--Liz will get used to her--she has her little tricks (uh oh).[/spoiler]
"You see what you've done now?" Edward demands of Beth. And to the occupant of the chair, he snarls, "Yes, even you! I'll have to stay in this room with you even longer." We must stay here until the governess falls asleep--we can't take any chance. It's 12:30.[/spoiler]
He's a beautiful baby, Barnabas tells Philip. And a very sick one, I'm afraid, says Philip--if we could only find a way to help him. Find out why he's sick, advises Barnabas--perhaps you must find out what is happening. Philip and Megan exchange glances. Barnabas tells Philip, I have decided to sell you the Hitchcock chair--you can come with me RIGHT NOW to pick it up. If it were any other time, I'd be at your door before you could change your mind, says Philip, but I can't go tonight. Yes you can go, insists Barn, and you will. Puzzled, Megan says, you can't expect Philip to leave on a night like this. I expect you to do what must be done, exactly as it must be done, says Barnabas firmly--you speak of time, my children, there is only one time for us--the time of the Leviathan people.[/spoiler](http://www.dsboards.com/epimgs/0894_95-2.jpg)Megan and Philip listen raptly. The latter repeats the last words Barnabas said. "And that time is now," says Barnabas.
Study - Roger tells Carolyn he never saw Jason before this current visit; he was away at school during the time Liz knew Jason and Paul Stoddard. Carolyn laments that she knows so little about her father, but Liz refuses to discuss him. Roger tells her that what Paul left behind is in the locked basement room. Carolyn, who never knew what was in that room, is curious about it. Vicki advises Carolyn not to pursue that.[/spoiler](http://www.dsboards.com/epimgs/0228-2.jpg)When Liz comes in, Roger tells her that they are all annoyed at Jason's participation in the business. Carolyn asks her mother for the key to the basement room, but Liz, upset, forbids any discussion about that room and leaves.
Stokes is fascinated by the house--early Greek revival, but more satisfying than Collinwood. The Professor starts examining a an antique table, and remarks that the man was drunk when he made that. Barnabas is impatient and offers Stokes a grand for the talisman. Stokes says no, he couldn't afford to buy it back. Name your price, persists Barn, and Stokes realizes his impatience. He says he'll give it to Barn on loan, but won't sell because he might need it someday, as Barnabas does now. Keep it on your person, says Stokes, and finally hands it to him.[/spoiler](http://www.dsboards.com/epimgs/0475-1.jpg)Stokes says he won't forget this evening, it's a chapter in a book he intends to finish. (a truly delightful scene between these two.) Barnabas holds the talisman and looks at it.
Barnabas notes that the tower light is gone and wonders why it went out--I must know!--I don't need a key to open the tower door, but must do it Rachel's way and use a key--where is she?[/spoiler](http://www.dsboards.com/epimgs/0717-4.jpg)The door opens and Rachel comes out with the key, explaining how Judith detained her Barnabas tells her to go to bed and stay there--let me handle it. She tells him to take care of himself--I've never had many friends. Neither have I, confesses Barn. They hold hands and look into each other's eyes.
Is she going to hear all about Jeff Clark, asks Vicki, but Jeff says he knows nothing about Peter. His past is a mystery, but Vicki might help him learn something. She's his only friend, and needs her help. He apologizes because she can't get straight answers from him. He doesn't know the beginning; he doesn't know who he is. His name might not be Jeff Clark. He knows of no past. Before the sanitarium, he doesn't remember anything. This perturbs Vicki. That's where he was before Lang. He doesn't know why he was there, and he hasn't thought about anything, but since he met her, he's begun to feel things that induce him to want to know his past. He wants to know all about her, and why they met when they did. She already knows, because they spoke a long time ago.[/spoiler](http://www.dsboards.com/epimgs/0476-4.jpg)He seems upset she still thinks he's Bradford. She wants to believe it.
they must conduct a simple, dignified funeral. Barnabas enters; Judith introduces Rachel to him. She rises and looks at him, greeting him politely. Judith informs Barnabas that he will be a pallbearer--at the funeral being held at 2 PM tomorrow (oh, no, that's not vampire hours!) Barnabas says he can't be there; he has business in Bangor that he can't cancel. Judith is shocked--surely you can try to cancel this business? He promises to try, "but please don't count on me." Judith, perturbed, says this is going to really upset Edward--I must tell him at once.[/spoiler]
Nicholas tells the two deformed ghosts that he must find Dr. Lang's creation, Adam--only after that can he avenge their suffering. Lead me to Adam, he commands, you must know where he is, being part of him--if you can't lead me, then point the way. The two ghosts lift their arms and gesture. "Collinwood!" says Nicholas. He asks what part of the house Adam is in, but they disappear without supplying that information. That's all right, says Nicholas, he knows enough--he will find him![/spoiler]
Joe and Maggie are hanging out at the cottage, and she is bored, feeling like a prisoner in her own house. She wants to return to her job at the coffee shop, on a day shift, but Joe says they feel she still needs protection.[/spoiler](http://www.dsboards.com/epimgs/0303-2.jpg)He begs her to be more patient, and she smiles, kisses him (I want Vicki and Burke to take notes, these two seem to really love each other), and says she'll give them more time.
What is bothering you? asks Roger. Miss Winters, says Liz--she's going to start prying again, wondering again--want answers again. You think she's the only one, Liz? asks Roger.[/spoiler](http://www.dsboards.com/epimgs/0025-2.jpg)Liz makes a face. Don't you think I've been wondering about her? asks Roger. I imagine you have, says Liz. Why did you reach out all the way from Collinsport to a foundling home in New York? he asks--why did you suddenly decide to engage that girl? Because she seemed to be well-qualified to take care of David, says Liz. But how could you know this? wonders Roger, you haven't been out of this house for 18 years--how could you know about a girl who was a total stranger when she walked in here? All I know is what you told me, says Liz. Me? asks Roger, perplexed. That's right, says Liz--you recommended her to me. Roger bursts into laughter. Did I say something amusing? Asks Liz. Oh come on, says Roger, I never heard of the girl until you told me she was on her way here. Perhaps you've forgotten, then, persists Liz. Now you're not making any sense, says Roger--how could I forget something I never knew. I engaged Miss Winters, says Liz, because you told me someone at the foundling home told you she was excellent with children--that is what I've told her in the past, and that's what you're going to tell her. Roger nods. I see, he says. She'll undoubtedly ask you the person who recommended her, says Liz--you'll have to prepare an answer for that she can't check on. And what about my answer? asks Roger. I've already told you, she says. You've told me hocus pocus, he says, now I want the truth--why did you engage her? That's a private matter, she says. It must be pretty important for you to go to all this trouble, comments Roger. I said it's private, says Liz. Sure it is, agrees Roger, until some private detective digs up the truth--Liz, don't you understand--if it's important enough for Burke to find out about it, don't you think I have a right to know? It has nothing to do with you, she says again.
Amanda races to the phone. She reaches Tim--there must be another way to do what you want, she insists--I can't stand looking at him, and the way he follows me around the room... This is the best way to handle the situation, says Tim. I don't care, I'm not staying! says Amanda--he's returning, I'll call you back. Turns out it's not Trask, but Quentin, who is pleased Amanda remembers him, calling it an honor. I'm sure a girl like you has a lot of names to remember, adds Quentin (what are the implications of that?)[/spoiler](http://www.dsboards.com/epimgs/0832-3.jpg)I'm glad you know so much about a girl like me, she says, more than I do myself. He ambles over, smiling. You're beautiful, he says. And you're handsome, she says, and neither of us are very happy, are we? He grins--when you were a little girl, what did you wish for when you saw the first star? I don't remember ever wishing on a star, she says. He moves in close--I'd like to get to know you a lot better, he says--perhaps we can talk again sometime, I'm afraid I must go. I have to make a phone call, says Amanda. He murmurs, it's been an unexpected pleasure, but then this whole day has just been full of surprises...if you'll excuse me... He leaves. She stands there for a moment, then calls Tim back and tells him, before he has a chance to talk her into going through with it as planned, she would like him to bring her luggage to Collinwood ASAP. He's very happy she decided to stay, and wonders why she changed her mind. You were right, she says, I let myself get far too upset over nothing(http://www.dsboards.com/epimgs/0832-4.jpg)--I think things will be just fine at Collinwood. She hangs up.
if only Father could live another week--I'd marry Catherine tonight! Morgan! cries Julia, you cannot marry Catherine tonight, tomorrow--if Justin lives for a week and you marry Catherine, then when Justin dies, Catherine will be part of the lottery! No! he cries. She will, it happens to all of us! insists Julia. No, I won't have it--there will be no women! he says. There always have been! Julia reminds him. There won't be this time, says Morgan--I've discussed it with Quentin and he agrees. Does Gabriel? she asks. He will, Morgan assures her. I think not, says Julia--you must not tamper with tradition. You sound as if it's an honor instead of a curse, he says. I'm just being realistic, she says. So am I, says Morgan--I know six Collins have gone to that room and spent the night--three were found dead in the morning, and three were found like Father--mad for the rest of their lives--I am realistic, too, about one thing--that either Quentin, Gabriel or I will be on that list.[/spoiler]
9:15 - Julia, asleep on the sofa, dreams: Julia! calls Roxanne. Julia rises--Roxanne! she calls, and finds her at the front door. He's dying, Julia, Barnabas is dying! cries Roxanne[/spoiler](http://www.dsboards.com/epimgs/1177-2.jpg)--follow me--follow me--she gestures for Julia to follow her. Where? asks Julia, where? Follow me, bids Roxanne, over and over, Barnabas is dying! They go to the docks. You must save him, Roxanne, says Julia. I can't, insists Roxanne, you must follow...follow me! Yes, says Julia. Oh, there is little time, hurry, Julia, hurry! cries Roxanne--you must hurry!
I've taken the children into town, and I think you should go, too, Alexis, it isn't safe here anymore, you must realize that. Roger pours a drink. Whoever is doing this has nothing against me, points out Angelique. These murders have been irrational, says Maggie. I'm not afraid, Ang assures her. I don't understand you, asks Maggie--why would you want to stay here? Perhaps you're right, perhaps I should leave, says Ang, realizing how odd she sounded, wanting to stay.[/spoiler]
]You suspect everything I say to you, don't you? demands Paul. Yes, says Liz. That makes it very difficult when I want to be sincere, and I do, about Carolyn--I want to be sincere. I'm waiting, she says. The famed Collins impatience, rants Paul, everything must run according to YOUR timetable! If you say so, she says. He grabs her and says, there is only one solution to Carolyn, and only you can make it happen--you must get her out of Collinsport ASAP.[/spoiler](http://www.dsboards.com/epimgs/0902-3.jpg)Why--just tell me why? orders Liz.
Charity has gone. She shows up outside the Old House, gazing at Barnabas through the window. He opens the door to let her in. I must not be here tonight, she cautions him. Ignoring what she said, he tells her to come in. Entranced, she complies.[/spoiler]
The kids bury Quentin's bones. His spirit is still alive, says David, so no need for prayer--we'll return to Collinwood, play a while, then get ready for tonight. David asks her if she still doesn't feel right about doing it. Amy assures him she'll do whatever he wants. It's not what I want, says David, but what HE--Quentin--wants-do you understand? Yes, she says. They don't want to anger him, so they must go through with it. The children pick up the box and leave the disturbed plot of earth behind.[/spoiler]
an approaching Adam, who tells him Barn is upset about using Carolyn, but didn't talk him out of it. Barnabas told Adam it would be dangerous, which Nicholas said he would do. He made Adam believe it, but Nick insists that was just a ploy to scare him. No, says Adam, he wants him to wait until he finds Maggie. NO, says Nick, Maggie won't be used--he wants Adam to love this woman, which will only happen if she's like Carolyn. Yet I am not like Barnabas, states Adam. Nicholas says he'll see Carolyn in the mate, just as Adam and Barnabas share certain traits. Adam doesn't feel Barnabas believes they share any characteristics, but Nicholas insists that's only because Barnabas won't admit it. Nicholas asks Adam if he saw Willie, and Adam replies no. Adam wants Nick to tell him how he's going to get Carolyn to cooperate, and, grabbing his arm, insists he not use violence on Carolyn. Of course not, says Nicholas. Adam wants Carolyn to WANT to be part of the experiment, and Nicholas says he understands that. She must want to do it, says Adam, for HIM, and Nick promises that will happen.[/spoiler]
[/spoiler](http://www.dsboards.com/epimgs/0410-2.jpg)Later, Ben quietly enters the Old House and Joshua returns to find him there. He curtly tells Ben that Barnabas is dead and accuses him of coming to rob the body. He was my friend, protests Ben, then adds, touchingly, "If you had any love for your son, you'll let me grieve for him." Angelique, coming downstairs, agrees with Ben. Joshua orders her to stay out of it, but Ang insists Joshua must treat Ben as Barnabas would have wished. Joshua asks Ang if she's afraid of being alone with Ben, and she says of course not--they were servants together. Joshua curtly responds, in a delicious diss, "THAT I will NEVER forget!" He stalks out.
Barnabas assures McGuire,[/spoiler](http://www.dsboards.com/epimgs/0224-3.jpg)and he can deal effectively with Willie and keep him under control.
I am always sorry when someone is ill, Doctor, she says, aren't you? And such a strange illness, he says--what do you make of it. I'll leave making anything out of it to you, she says, after all, that's your business. I've never seen anything like it--not in this world, he says. Are there any other worlds? She asks. There might be, he replies. What an interesting observation, she says--we must discuss it sometime. Haven't you ever considered the possibilities of another world? he asks. (another soap, now defunct.) Let me put it this way, she says, I feel that the possibilities of things in this world are so infinite that it's difficult to conceive of another. What an interesting observation, he says, grinning--we must discuss it sometime. Are you going to be around long enough for us to have our...discussions? she asks. That depends on how soon I get to the bottom of your sister in law's illness, he says. I wish I could be of some help, she says. You may be, he says, you may very well be. Not if you go looking in other worlds, says Laura, because I am strictly part of this one.[/spoiler](http://www.dsboards.com/epimgs/0163-4.jpg)But as you just commented, he points out, the possibilities of THIS world are infinite.
Who's in here? asks Vicki, then strides over to the open window and closes it. Must have been the wind, she says with a nervous chuckle. Carolyn spots something on the floor--a book. She picks it up and drops it, and they both hear the odd sound they'd heard upstairs. That's it, says Vicki. Yes, it is, agrees Carolyn--but who did it? It must have fallen off the table, says Vicki--she observes the distance from the table to where it was located on the floor and remarks that she guesses it couldn't have gotten all the way over here, though. Not by itself, says Carolyn--now do you believe what I was saying? No, says Vicki, placing the book on the desk--there has to be a logical explanation! Yes, agrees Carolyn. Maybe a cat got in the window and knocked it off, suggests Vicki. In all my life in this house, I have never seen a cat in here, says Carolyn--anyway, a cat couldn't get that book from that table to here--it's very heavy. You're right, says Vicki. So if there isn't a logical explanation, says Carolyn, there's only one other possible explanation, and I don't even like to think about that one--please, let's go back upstairs--I feel a lot safer there--at least we can lock the door. Vicki agrees. She turns off the lamp and they exit the drawing room. The book opens by itself to a page with a bookmark.[/spoiler](http://www.dsboards.com/epimgs/0052-3.jpg)The bookmark slides off to reveal a page. JOSETTE COLLINS, it says, Born 1810, died 1834.
"You decided to come with me, eh?" he asks. Yes, she says, pulling away from him. You don't sound very enthused, he complains. Beth turns to look at him, then asks, why do you want me to go with you? That's obvious, he says, for a long time--"I love you, Beth." I've been thinking about us since the other night, she says, and if we are going away, you must be honest--you don't want me along because you love me, because I'm not sure you love me--or anyone (wise gal). Quentin doesn't answer, but turns away from her when he denies what she said. You want me with you, says Beth, because you're the kind of person who can't ever be alone or do anything alone--people mean nothing to you, you use them and when you're tired and bored, you discard them in favor of new ones. If that's the way you feel, he asks gently, why have you decided to come with me? I love you, she says, and care about what happens to you--every instinct tells me not to go, but I'm going anyway. He takes her in his arms and assures her, you won't regret it, then plants a big kiss on her.[/spoiler]
Carolyn returns to Adam, who looks chastened and sad. She sits beside him and says she isn't angry at him, just frightened. He tried to kill someone. Adam says Harry tried to kill him, lied to him, but Carolyn insists she doesn't care-he shouldn't have done to Harry what he did. Even if he attacked him with a knife, he should have just taken the knife away, not tried to kill Harry. Adam listens.[/spoiler](http://www.dsboards.com/epimgs/0543-4.jpg)Killing is wrong, explains Carolyn, under any circumstances. Adam says he understands. Unless he makes the promise not to harm anyone, she will go away. He promises, for her sake.
Cottage - Joe keeps a vigil at Maggie's bedside, who wakes up at first seemingly glad to find him there.[/spoiler]
Catherine, he's trying to possess you! warns Bramwell. There is nothing anyone can do, she says. Yes there is, he insists--you can fight--you must fight! No, she says, there is only one way for us to have peace. You have the willpower! he says urgently. No, Brutus will never set us free, you know that! she says.[/spoiler]
Daphne returns to the drawing room, does not find Quentin, and goes upstairs, but before she gets far, someone knocks at the door. It's Randall, and he introduces himself to Daphne after a moment's hesitation. Yes, you're Mrs. Collins' brother, won't you come in, says Daphne. You must be the new governess, says Randall, I'm looking for Quentin. Daphne explains she's been looking for him herself; she doesn't know where he is. I see, says Randall. Daphne excuses herself, saying she'll go look for Quentin and Randall can wait in the drawing room. He asks her if they know each other from somewhere. Daphne says she doesn't believe so. I'm almost certain I've met you before, he says--what is your name? Daphne Harridge, she replies. He says her name and says that nothing comes back. She smiles in relief. I'm not good at names, he says, but I always remember faces.[/spoiler]
the fire occurred over a week ago. Barnabas, says Quentin, are you telling us that the room changed over a week ago, with you and Julia in it?[/spoiler](http://www.dsboards.com/epimgs/1071-2.jpg)Yes, says Barnabas. Then where have you been? queries Quentin. That's the incredible part of our story, he says-we found ourselves transported to the future-to the year 1995. 1995? repeats Liz in disbelief. Barnabas! says Quentin, skeptical, too. (but how?-he's been a werewolf!) It's true, says Julia, we were there, and the two of you must listen to what happened to us. Unless something is done very soon, warns Barnabas, there will be a catastrophe right here at Collinwood. What are you talking about? asks Liz. After we left the West Wing room, says Barn, we came down to the foyer and found the house in ruins-the beams had collapsed, the floors were covered with leaves, no power at all-the house was in a complete shambles. Julia adds, we couldn't imagine what had happened, the entire place was deserted--we went to the cemetery and saw Mrs. Johnson, who was putting flowers on David's grave. This horrifies Liz. Yes, says Barnabas, according to the tombstone, David had died in 1970. You must have imagined it! insists a stricken Liz. You must listen, says Barn, as don't have much time to prevent what's going to happen. Time for what? asks Quentin. The disaster is due to happen very shortly, says Barnabas.
You cannot leave that girl there--she must be found before you feel the pain, because you will, you can't stop turning into him now, you can't! He leans against the mirror, gazing at his reflection. It looks like there are two Cyrus'. I can't call them at Collinwood; Yaeger saw to that! I can call Barnabas! He picks up the phone and dials.[/spoiler]
There's no reason to treat her like some kind of a special case, insists Michael--now that you serve us, you must forget all that happened before. I cannot forget that Julia risked her life for me, insists Barnabas--I cannot take her life and won't let anyone else do it, either. I don't! cries Michael, you can't let sentimentality make you careless!--she is now an ENEMY! I refuse to regard her as such, says Barnabas--neither will you, and the subject is closed. Furious, Barnabas leaves the shop.[/spoiler]
Evan answers the door and admits Quentin and Jamison. Quentin told me we're going to see the future, says Jamison. Evan cautions him--it doesn't always work. Jamison asks about the table in front of the fireplace. That's more of an altar, says Evan--look directly into the flame, and while I'm talking, you're to concentrate very hard and keep looking into the flame--or the spell will be broken.[/spoiler]
After Maggie is gone, Amy sits up. "How was that?" she asks David, and he lauds her performance. You almost had me worried, he praises--now we must make sure Carolyn goes to the cottage to get Chris. Amy wonders why. You don't have to know, answers David. Amy wants to know what Chris has to do with all this. How should I know? he answers. Hearing Maggie's voice, Amy sags back down on the bed. Carolyn and Maggie come in, speculating on what's wrong with the child.[/spoiler]
David told him the dream, says Willie Mrs. Johnson returned from Boston and told David, and so it goes on. Barnabas says Willie will have the dream tonight, bringing him one step closer to it himself. Willie doesn't want to have the dream. Barnabas assures him he has nothing to fear--HE is the intended victim of the dream curse--time is running out for him. Fight her, urges Willie. Barnabas can't think of how. You must do something, insists Willie, but Barn says he tried to destroy her before, back in the very beginning.[/spoiler]
Barnabas takes a sheet of paper out of the desk and demands a signed confession exonerating Vicki and Peter of their crimes. Nathan tells him he's wrong, but Barnabas yanks him from the chair--I'm not going to argue with you, ordering, "Write that confession!" Nathan refuses to incriminate himself, but Barnabas believes he'd rather be in prison than die in this room.[/spoiler](http://www.dsboards.com/epimgs/0663-1.jpg)If you need my help that desperately, points out Nathan cagily, you can't afford to kill me--I don't want to go to jail, so we should agree on a compromise. Barnabas once again grabs Nathan's throat, telling him there will be no compromise--he'll write and sign the confession!
Meanwhile, Sam and Joe arrive home to find Maggie very excited[/spoiler]
John shows Liz where she needs to sign the legal paperwork he brought to her. This trust fund can't be touched by anyone? she asks. The principal can't even be touched by David, he assures her--and the interest guarantees him security for he rest of his life. (I wish I were him.) He takes the papers and places them in his briefcase. And this goes on in perpetuity? asks Liz. It goes on as long as we have a monetary system, John assures her--it assures him of an education and an income--but I must point out to you that this trust fund you've set up is going to put you in a slight bind, financially. Liz chuckles and asks what does he want her to do--go around and make sure all the lights are out? John laughs, too, and says nothing that serious--but there isn't any loose money lying around, and when you took over Roger's interest in the company, you tied up nearly all your own cash to do it.[/spoiler]
Liz, perturbed, asks Vicki when she decided to leave us? A little while ago, says Vicki--it's not something I wanted to do. Then why go at all? asks Liz. Because I must, says Vicki. Are you sure it's only about David? asks Liz. Mostly, says Vicki, yes--I know I thought about leaving before, but somehow I never did it--I always thought things would straighten themselves out--but now I see it's impossible. Because it isn't easy? asks Liz--very little in life is easy, Miss winters, I should think you of all people would know that.[/spoiler](http://www.dsboards.com/epimgs/0036-1.jpg)"You're going to be sorry you ever came here"--that's what David said to me a little while ago, Vicki tells her--standing in that doorway--those words. So you're afraid of him, too, says Liz--I shouldn't be surprised. It isn't that, says Vicki, I wasn't thinking about fear. Of course you are, says Liz--David threatened you, just as he threatened his father--and then he tampered with the brakes on his car--why shouldn't you be afraid of him--heaven knows, I am. YOU? asks Vicki in disbelief. Yes, admits Liz, but not for myself--for him--for David--she closes the doors, not seeing David standing there
Maggie serves a customer in the restaurant. Burke enters and bids her good morning. She offers coffee. Good idea, he says. You won't say that after you drink it, she predicts with a chuckle, pouring. I'm looking for someone, a woman, says Burke, she's staying here, so she must have come in here. Is she blonde and very attractive? asks Maggie. Yes, says Burke, have you seen her? There is a woman who used to live here, says Maggie--yeah--you're talking about Laura Collins? Have you seen her? asks Burke impatiently. Not yet, she says, she mentioned she knew you. What did she say about me? he asks. I said you had a big chip on your shoulder, she says, and she said you weren't always that way. That's interesting, what else did she say? asks Burke. Maggie takes a cup of coffee for herself and sits in the stool next to him. That was about all on the subject of you, she says.[/spoiler]
Cottage - Sam opens the door to Joe and tells him a doctor is with Maggie. They agree that she looks very ill, washed out. Dr. Woodard comes out to inform them that Maggie's problem is a severe loss of blood.[/spoiler](http://www.dsboards.com/epimgs/0229-3.jpg)He's at a loss to explain where it went, however, and says he's going to do tests on it.
Angelique isn't happy to hear about Jeremiah's sudden trip, and asks Ben to help her figure out a way to keep him from leaving. He tells her Barnabas already spoke to Jeremiah, trying to convince him not to go, but it didn't work. Ben says Josette must make Barnabas prevent Jeremiah from leaving; it's the only way, and Angelique is pleased that her slave came up with such a great idea--to make Barnabas' fiancee keep her lover in town.[/spoiler]
Barnabas sleeps in his drawing room chair. He hears Angelique calling to him, and his wife, dressed in her 18th century clothing, says she must see him and tell him what the future holds. Barnabas orders her to get away from him, but she insists they must talk. He can't move, what is she doing to him? Nothing she says--you're having a dream, and I'm causing it so we can be together again for just a moment. She walks toward him, touches his head. He wants her out of his sight, but she says she won't harm him. Do what you want to do get it over with, he moans. You won't escape me, she swears, and no doctor will help you. Go away, he cries. Only a dream, she says.[/spoiler](http://www.dsboards.com/epimgs/0477-4.jpg)He wants to awaken, and will, she giggles, when the time comes.
David tries to comfort the depressed Amy--maybe you'll get to stay here, with us!--wouldn't you like that?--we'd have fun. Amy doesn't answer.[/spoiler]
Jamison stops Quentin from stabbing the doll with the pin--that won't end the curse, it will only hurt Barnabas! Quentin orders Jamison, keep looking at me--I thought you were my friend, on my side, that you want what I do--don't you? Yes, agrees Jamison. Remember what I taught you, says Quentin, which will help us to understand why we must go on--Baal gives us the power to serve him, says Quentin.[/spoiler](http://www.dsboards.com/epimgs/0718-4.jpg)Jamison repeats it. Baal's hand becomes my hand, intones Quentin. Jamison repeats. Whatever Baal's hand does is the good for man, says Quentin. Jamison repeats this. Do you believe it? asks Quentin. Jamison nods.
It's curious, remarks Julia--I've seen you onstage, and seen photographs of you in newspapers and magazines, but never noticed your extraordinary resemblance to Amanda Harris--quite unique. Olivia looks at her and says--not really--Amanda Harris was my grandmother. Who was your grandfather? queries Julia. Olivia laughs and asks, are you interested in genealogy as well? I really want to know, says Julia. His name was Langley, reveals Olivia (shades of Edmonds' role on AMC?) Oh, says Julia. Olivia notes, you seem almost disappointed. No, responds Julia, of course not. I find it strange that you knew my name was Amanda Harris, says Olivia, it was never mentioned in conjunction with any of Tate's works, I knew her name, of course, but how did you? You must be mistaken, says Julia, I must have read it somewhere, I'm sure. I suppose so, says Olivia[/spoiler]
Liz enters the drawing room. Maggie leans on the mantel, upset. It's going to take time, comforts Liz, you can't expect him to accept you without some difficulty. It was a total disaster! laments Maggie..[/spoiler](http://www.dsboards.com/epimgs/0983-2.jpg)The boy is living in the past, has never accepted his mother's death, says Liz--difficult as it may be, you will have to make him accept it. She must have been a very beautiful woman, comments Maggie. That calculating, ugly look on her face, Liz says, yes, that she certainly was. (But that was all?)
Julia, I'm convinced more than ever that the evil spirit holds the key to everything that's happened here. He can't be reached, says Julia. What if I don't want to reach him--what if I just want to get rid of him? suggests Barnabas. How? she asks. Another exorcism, says Barnabas. You can't, she objects. I can try, he says, or get someone who knows how. She shakes her head. No, it's too dangerous, she says, believe me, I know what I'm talking about--when he wants to do something, nothing will stop him. His forehead creased with puzzlement, he asks, how do you know that? Because of the way he made me feel when I saw him first, she says, I tried to explain that to you. But if he were gone, perhaps Carolyn and Quentin would recover, suggests Barnabas. That's what Stokes thought, but it didn't work, says Julia. I can't give up, he insists. Barnabas, she says, looking deeply into his eyes, but she walks away and says, I have something important to tell you. Outside the window the ghost stands, looking in at her. Spotting him, she hastily says, it happened at dusk tonight--I was sitting in this room. And what? prompts Barnabas. Nothing, says Julia, it wasn't important, I felt a presence here, probably my imagination, I shouldn't have mentioned it. That's all? asks Barnabas. Yes, she answers. The ghost is gone when Barnabas stands close to Julia and warns, you must be careful--very careful--especially when I'm not with you during the day. I will be, don't worry, she assures him.[/spoiler]
Give me your hand, he asks. I beg your pardon? she demands. No, he says, taking her hand, I want to see what the future holds for you. What are you doing? she asks. You didn't know I was an authority on astrology, numerology and palm reading, did you? he asks. I don't believe in such things, she replies. That's a pity, says Gerard, because it says here that your troubled life lies behind you. What do you mean? she asks. Look at your hand, he says, touching her palm intimately--the lifeline, heartline and the love line--the last two converge here, meaning that you're going to have a very successful love life[/spoiler](http://www.dsboards.com/epimgs/1116-1.jpg)--but what is more important is your lifeline--strong and clean, although there is a very clouded area here. Is that bad? she asks. One might say it's just a clouded area of your life, he says--who it is or what it is is impossible to say. Do you really take this seriously? she asks. Yes, and you should, too, he says--perhaps this is the clouded area of your life you're going through--a thought just occurred to me--who in your life is making you the most miserable--Gabriel Collins, am I correct?--what are you going to do about it? There's nothing I can do, says Sam. In time, you will become the mistress of Collinwood, he says, now is the time to start planning what you'll do--doesn't that make sense? Yes it does, she agrees, I suppose I hadn't wanted to face it, but I really must make some decision about Gabriel--at the moment, however, I still feel like being alone--I think I'll take a walk around the grounds--please excuse me. Of course, he says.
now, let's talk about you--when I first came back and saw you, I didn't recognize you--you've grown up the past five years, and I must say I like what I see. Thank you very much, she says. May I take you for a walk? He offers. I can't, says Daphne--I've got to go back to the village. That's where I'll walk you, he says--you might as well get used to it--I never take no for an answer. He leads her away, an arm around her shoulders.[/spoiler]
I really have to change, I just might be taking a trip to Bangor this evening. Carolyn, calls Vicki, can I ask you a question. Anything at all! says Carolyn, ecstatic. You remember that sobbing I told you about? asks Vicki. You heard it again last night, says Carolyn. How did you know? asks Vicki. Because I heard it, too, says Carolyn--I hope you had the good sense to stay in your room--that's what I always do. But when I told you about it before, says Vicki, you told me you'd never heard it--that I must have dreamt it. From the kitchen doorway, Liz listens. I didn't want to frighten you away, admits Carolyn--but now that you're one of us--sure, that ghost lady sobs--I've heard it, off and on, for most of my life--but right now, I couldn't care less! Where does it come from? asks Vicki. Ghosts! says Carolyn, and like all the rest of us kooks here, you're just going to have to get used to it--I really must change. She leaves Vicki on the landing alone.[/spoiler]
Good night, Laura says to Roger and Liz, who say it back. How does the house look to you? asks Carolyn as they leave the house. The same, and yet different, says Laura.[/spoiler](http://www.dsboards.com/epimgs/0135-1.jpg)The door closes. Roger and Liz walk forward. What do you think of her now? asks Roger. I must say I'm favorably impressed by Laura, Liz says. So am I, he says. I'm worried abut David, says Liz, I don't like the way he's behaving. He's just acting up, says Roger--that's standard for David--pay no attention to him.
Maggie waits in the cemetery, looking for someone. Barnabas appears and stands before her,[/spoiler](http://www.dsboards.com/epimgs/0230-2.jpg)his eyes locking with hers. He takes her hand.
She insists that Vicki re-enact the circumstances under which the master of the house disappeared, and does a dead-on impression of Joshua's pomposity. Vicki, regarding this as cruel and embarrassing, isn't at all pleased about being asked to participate in this charade, ordered to look out the window as Jeremiah was during the argument, but the Countess feels if they do, the cat Will show up--and it does![/spoiler]
Lang lurches forward and injects Jeff, who falls to the floor. Barnabas fears he's dead, but Lang says not, yet--but soon, very soon. Lang binds Jeff back to the table, and Barnabas asks the doctor to listen. He nearly died, says Lang, but Barn says killing Jeff isn't necessary--Jeff can be completely harmless. Lang is doing this to protect his experiment, and will allow no interference. Barnabas suggests they call in Julia to save Jeff's life--she can hypnotize him. Lang refuses to listen. Lang implies Barnabas is stupid to believe such a thing. It's been successful, insists Barn, but Lang doesn't want Julia to know about the experiment. She needn't know, insists Barn, but Lang is sure Jeff will tell her right away. Tell Julia Jeff was momentarily deranged, suggests Barnabas, but Lang feels the inquisitive redhead would probe until she learned the truth. Then let her know everything, advises Barn, but Lang considers this a mad idea. She'll keep his secret, insists Barn, but Lang considers him too trusting and stupid. Julia isn't without her guilts, says Barnabas--she had her mishaps when they tried her experiment. No one can know what he's doing, insists Lang. Jeff starts coming to, calling to Vicki to help him.[/spoiler]
Friday's quote:
Ep #475 (1968) - Dr. Lang - 'No! No! No one else MUST know!'
Magda tells Quentin's fortune with the Tarot. She asks if he has to keep playing the music. "I like it!" he insists. You've heard it before, he says, but it's soothing to me while I listen to you telling me my future tragedies. You HAVE no future, says Magda. Judith bursts in and orders Quentin to turn off the music.[/spoiler]
Barnabas, pleased with himself, opens the secret bookcase, turns off a tape recorder, rewinds the tape and plays it back: "There is no margin for error. Punishment is necessary", it says over and over. He turns to someone and asks, "Do you understand what must be done?" He's speaking to Philip, telling him to go and see that it is done. Philip, walking like an automaton, leaves the secret room and the Old House. We continue to hear the tape, and Barnabas smiles.[/spoiler]
Quentin, I must leave, insists Alexis, I can't stay here. That's unthinkable, he says. But I'm having such a devastating effect on Maggie, protests Alexis. She'll be all right, Quentin assures her, and besides, I have, and always will, make the decisions at Collinwood. Of course, she agrees. It's settled, says Quentin--we have much catching up to do.[/spoiler]
1117[/spoiler]
Barnabas appears in Josette's room from the other door. He stares down at her raptly, and is about to go in for a bite when Julia calls, "Barnabas!" So, YOU brought her here! he accuses, his eyes vicious. You must not touch her, insists Julia, please, please try to understand! "I cannot go through eternity alone, he says, I must have someone." It's wrong, don't you see? wails Julia, please, leave her alone. Barnabas advances on Julia and grabs her into his arms.[/spoiler](http://www.dsboards.com/epimgs/1116-4.jpg)"You will not interfere again!" he shouts. He draws back, fangs bared, and is about to bury his face in her throat and attack when he abruptly stops, his face contorted. Moaning, he covers his face with his hands, drops his cane. Julia watches, horrified, as Barnabas sinks to the floor, unconscious.
Maggie lies in her bedroom as Joe and Sam await the doctor. What's with those marks on her neck, they wonder? Dogs, howl, cuasing Maggie to move restlessly on her pillows. When Sam comes in to close the French doors, he, too, is spooked by the howling, wolf-like sound.[/spoiler]
The Joshua-cat sits on Angelique's bed, and Ben comes after it with an axe. Angelique stops him, but promises he will eventually get his revenge against Joshua for his cruel treatment of him, she'll see to that! She orders him to get a handkerchief from Jeremiah's room for her latest spell.[/spoiler]
The men pound on the door and Lang holds the gun on the closed doors. Julia gets a busy signal from the Collinsport police, and dials the operator, asking frantically for an emergency number for the cops.[/spoiler]
Dirk tells Beth he's feeling better. I'm sorry this happened to you, she says, Judith should never have involved you, but waited for me to return from the village. Dirk curtly tells her he knows her big, dark secret and will keep it because he's being paid to.[/spoiler](http://www.dsboards.com/epimgs/0720-1.jpg)He asks her how long she's known about Jenny. From the beginning, reveals Beth, when she had her breakdown and Edward sent her to the tower room. Removing the compress, he stands and wants to know what caused Jenny's breakdown. Beth says she doesn't know. Dirk he is sure she does, being Jenny's personal maid. She repeats, I didn't know.
Cyrus realizes his desk has been tampered with, and finds both flashlight and crowbar. Come out where I can you, orders Cyrus. Gladstone reveals himself, admitting, I find this a trifle embarrassing. I'm not surprised to see you, says Cyrus, my instincts told m you couldn't be trusted. Were my instincts as good, laments Gladstone--your young lady told me you wouldn't be back until late, and I believed her. How long have you been here? demands Cyrus. Long enough to realize I have contributed to a most intriguing experiment, says Gladstone. You have contributed nothing, says Cyrus, you were paid for that ingredient you contributed. Forgive me, says Gladstone, but I just couldn't contain my curiosity.[/spoiler]
As Vicki is leaving Collinwood, Jason quizzes her about Maggie's illness[/spoiler]
She explains that Lang is definitely not home, and in his study is a desk with a medallion in it, small, round and old, a talisman against witches. "To protect him against you!" says Tony, sounding much like Trask. "No," she coos, again caressing his forehead. "That's a very unkind thing to say. I told you to be kind. . .you will not be able to sleep until you bring this to me." He nods. If it isn't there, she says, you'll have to wait until Lang returns, but he mustn't know you've taken it. "I won't kill him!" explodes Tony. "No," she says, you must leave that privilege to me--overpower him, take his watch and wallet, but be certain to bring me the medallion. Tony understands.[/spoiler]
Barnabas grows impatient, ordering Angelique to come to him. "I need you!" he begs. "Why thank you," she says, appearing at last, "you have no idea how gratifying it is after all these years to hear you finally admit that YOU need ME!" She grins at him. Barnabas looks as if he's wondering if this was such a great idea after all.[/spoiler]
One of my all-time favorite scenes
a lightning flash reveals the figure of a man standing in the doorway between the foyer and the living room. The girls shriek, only to find out it's cousin Barnabas, who apparently has stopped knocking on doors, too, and just let himself in. He apologizes for startling the ladies and asks about the electricity.[/spoiler]
Morgan has asked me to marry him and I've agreed, says Catherine. Look at me, commands Bramwell--LOOK AT ME! She does. You love me, tell me that you love me! he demands passionately. No, she says, her face showing how torn she is. You don't love Morgan, you love me, insists Bramwell, as I love you!--that's the way it should be--he pulls her into his arms--that's the way it always has been--you and I--Catherine and Bramwell--there's no other way. I'm sorry, she says, withdrawing from of his embrace. I won't listen to you say you're sorry, he growls, I will not let you destroy both our lives. There's no point in putting yourself into one of your vicious tempers! she retorts. I will show my temper when I see Morgan, he vows. There's no reason for you to see Morgan, she says. I have every reason to see Morgan, he says--I would like to kill him. Oh, you haven't changed, she says with a bitter smile--no one could ever talk to you when you were angry. How did you expect me to react to what you just said? he demands. I expected you to listen to me while I try to explain, she says. I'll listen, he agrees. When I made the decision to marry Morgan, it was a very difficult one, she says--you know how I've always felt about you--how I still do feel--but I also know the kind of life I want--and I know the two of us could never find it together. But you and Morgan will? he asks. Yes! she says. You are telling yourself lies! he says, we belong to each other! No, we're too much alike, she protests, we'd destroy one another--and we could never find the kind of stability I must have if I'm to be happy. In other words, a poor Collins won't do, he accuses--you must have a rich one. That isn't fair, she says. But it's TRUE! he shouts--look at me and tell me you love Morgan Collins. I do love him, she says. I don't believe that, says Bramwell, I don't believe you love him, nor do I believe he loves you--he only wants you because he doesn't want me to have you![/spoiler]
Collinwood - Joanna sits by the fire. Daphne enters, smiling, tea tray in hand--good morning, she says--what are you doing here so early? Actually, I never left, says Joanna, I went for a long walk and then when I found out what time it was, I decided to come back here and wait for you. You must be exhausted, remarks Daphne. No, says Joanna, I'm fine--you got some sleep yourself, didn't you? Yes, and I had a good night's sleep, I'm glad to say, says Daphne.[/spoiler]
Quentin races to Hannah's side. What happened? he asks. "My throat!" she cries. "Light the lights, quick!" He does as she asks. Whatever is throttling Hannah lets go. She gasps out to Quentin, a hand was choking me!. Sounding as if he doesn't believe her, he insists, tell me what happened. She flatly informs him, I can't do anything to help you, because the spirit that roams these rooms won't be driven out--it wants to stay--and it's powerful--believe me, most powerful! There must be something that can be done, protests Quentin. Look! says Hannah, pointing to the desk drawer, which is opening by itself. What does it mean? asks Quentin. Look inside and see! blares Hannah. Quentin opens the drawer and takes out Bruno's sheet music, which has blood on it.[/spoiler](http://www.dsboards.com/epimgs/0993-4.jpg)There's a note, says Quentin--"It must be tonight." In whose hand? she asks. I can't make that out, he says--it's printed; it's all got to mean something--Bruno, the music, the message.
he told you nothing about the Leviathans? I never heard that name before, she says. You'll hear it often now, he promises, but you must not listen to the book--your loyalty will be to me--Barnabas likes to follow the book--"But I do not!"--that's why you were told to discourage Carolyn from seeing me--all I wanted to do was bring Carolyn the same peace I brought you[/spoiler]
Karlen doesn't grab onto the cross in the re-do of the previous episode's ending.
Carl checks his pocket watch. It must be getting dark, he realizes, I have to get out! He bangs on the coffin with both fists, then seems terrified. Be logical, he encourages himself, somehow there's a way to open that door--"THERE'S GOT TO BE!" he screams--I must get Edward or the police. . .[/spoiler]
In her coffin, Liz is still trying to figure out how to warn Carolyn of the terrible danger she's in.[/spoiler]
this man, why did he come to the Old House?[/spoiler](http://www.dsboards.com/epimgs/0503-4.jpg)Julia has no idea, and Willie doesn't, either, but the sheriff doesn't believe them
why did Barnabas run from her?--even Ben denied seeing him--they must punish Ben for lying to her[/spoiler]
David, who has dozed off, wakes up and murmurs, "Somebody's got to come!"[/spoiler]
Old House - Have you ever been here before? David asks Sam. This is my first time, says Sam, and I hope the last. Would you like to see a very beautiful painting? offers David. Here? asks Sam in disbelief. Right here, says David, pointing above the mantle. You've got a sharp eye, praises Sam--it's a good portrait. It's Josette, says David. Is it? asks Sam--there's a dimensional quality about it--the artist caught a very expressive face--eyes alive, lips seem soft, wanting to speak. You know, that's exactly the way I feel when I look at it? says David. It's amazing, it's in very good condition, says Sam, considering how it's been exposed to the temperatures all these years--yes, it looks very fresh--artist must have used very good materials--no sign of cracking or drying.[/spoiler]
Why did you lie to me the next day, asks the sheriff, why did you tell me you hadn't been near Lookout Point? For the same reason, says Roger. You didn't want to be involved, says Patterson. Yes, says Roger, and I didn't want to put my sister through the ordeal of an investigation--surely that's not a crime! Keeping information from the police, hiding evidence--yes, that is a crime, Patterson informs Roger. Well, what do you intend to do about it? asks Roger as though he's above it all. I don't know yet, says Patterson. I've told you the truth, insists Roger--I was on the beach, but I did not kill Malloy, I had no reason for killing him. No one has established a motive for murder, points out Garner. I haven't accused you of killing anybody, have I? Patterson asks Roger. Not yet, says Roger. If you will just be honest with me, you'll have nothing to worry about, says Patterson. I'm trying to be honest with you, says Roger. Do you have a complete set of keys at Collinwood? asks Patterson. That's an odd question, remarks Roger. Answer it, says Patterson. No, says Roger, I have the key to the front door and a few rooms, my sister has the rest. Do you have a key to Miss Winters' room? asks Patterson. Of course not! shouts Roger. Do you have access to your sister's keys? Asks Patterson. I see what you're getting at, says Roger, our little governess must have told you that someone was trying to break into her room--well it's ridiculous, she imagined the whole thing! Yes, but you're still not answering the question, are you? asks Patterson--do you have access to your sister's keys?[/spoiler]
Charity reports to Daddy that the lost lamb has been found, the lamb so in need of saving--I saw Rachel, not just in Collinsport--but here--as the governess! Trask is stunned. We must pray, he says, give thanks that she has been delivered back to us. Father and daughter sink to their knees.[/spoiler]
Carolyn leads Adam back to his room. She goes in with him and expresses relief that no one saw him. She tells him everything is all right, but they must be more careful. She still doesn't understand how Nicholas got in. Adam tells her he was sitting and studying, went to get a book, then heard Nicholas speak. He was just standing there.[/spoiler]
Roger and Joe spot the caretaker, whom Rog dubs "senile," but when Joe questions the codger, he learns the old man heard voices. Yes, he knows of a David, David Brewster, says the caretaker, drowned at sea.[/spoiler](http://www.dsboards.com/epimgs/0313-3.jpg)Joe presses the ancient mariner, who reveals he heard voices at the Collins tomb. Roger sarcastically his ancestors are kicking up a fuss, but Joe, despite the caretaker's warnings of danger, persists, and they go to check out the mausoleum.
And considering the caretaker is only in 23 eps, it's quite interesting that he already has 7 quotes in this slideshow - and even more may be possible...
Catherine shakes her head--no, it can't be true! I'd give me life to make it a lie, he says, but it is true[/spoiler](http://www.dsboards.com/epimgs/1233-0.jpg)--when Mother told me the news, I went to see Dr. Fletcher myself--he doesn't know what's wrong with her. Doesn't know? says Catherine--he's a doctor, of course he knows (spoken like a doctor's daughter). He wasn't able to diagnose the illness, says Bramwell, he could only tell that she is dying--all the vital life signs are weakening, she hasn't the will to fight--unless the situation changes soon, she will not have very much time. It can't be true, insists Catherine--she's so young, she's never been sick before in her life. I know, says Bramwell--if this happens to her, then I will be responsible. Why? asks Catherine. I married her, then completely neglected her, he says--I've given her nothing to live for, and now she's dying. You mustn't blame yourself, says Catherine. But I do, he says--last night I came home with such good news--my ship had arrived--I now have as much wealth as I'd ever want, now it means nothing to me--I would gladly give it all up if I thought it would make her well again. Catherine rises from the sofa--if anyone is to blame, I am, she says--the way I've treated her since she married you--she must think I hate her by now. The fact is, says Bramwell, you are right, Daphne should have listened to you--I married Daphne because I was hurt and angry at you--but now, I feel very deeply toward her
I'd rather see him beheaded--that's a fitting end to Quentin Collins! Have you always hated him this deeply? asks Gerard. He's responsible for ruining any happiness I might have had, she says sadly. You still have a chance, he says--did it ever occur to you that I was forced into treating you like I did when you had to choose between Quentin and me? I don't believe that! she says. You must believe it, because it is true, he says--Samantha, I knew there wouldn't be any chance between you and me if Quentin was still around. He tries to touch her, but she moves away. You must understand and believe me, he says tenderly, putting his hand on her shoulder, kissing her temple, it's true.[/spoiler]
Windcliff Sanitarium? asks Sebastian--isn't that just a polite word for insane asylum?--you know as well as I do that Maggie's problem is physical, not mental. It's both, says Julia, and YOU know that as well as I do (Yes, they were both vampire victims)--now Maggie is going to Windcliff, where she will have proper treatment and protection--as soon as she's well enough, you can go and take her away from there--but now you must take her to Windcliff! Barnabas helps Maggie, who is wearing a scarf tied under her chin, downstairs--she's ready, says Barnabas. Good, says Julia, everything's been arranged--Mr. Shaw, go get the car.[/spoiler]
Maggie sits in the drawing room, wondering, why hasn't Quentin come back?--he must realize how terrible this is for me...is he so obsessed with Angelique that I don't matter at all? The front door opens; we see only legs--it's Roger, and Maggie is disappointed. Still waiting up? he asks, the champagne glass still in his hand--"That's bad form, you know. Most husbands don't like their wives sitting up waiting for them, especially..." Good night, she says angrily. Roger goes on--"Especially in a marriage like this!" You don't know anything about my marriage, she says.[/spoiler](http://www.dsboards.com/epimgs/1025-2.jpg)Don't forget, he says, I lived through the last one in this house, so I know--by comparison. You're drunk, she accuses distastefully.
Old House - Angelique and Jeb sit bare inches apart, looking almost intimate. Only the fireplace glows. Isn't it considerate of me, she asks, keeping us in the dark, just the two of us, as if we were alone. Yes, but it waits for me, says Jeb, for one little bit of light, and you know that as well as I do. Barnabas told me you're in love, says Ang--I'm a great believer in love. Please, Jeb begs, take the shadow off me. Make it disappear? she asks, I can't do that--it must kill. Why? asks Jeb--you can do it. I can't, she says, but you can, if you're willing--do you still have the paper cutout I placed on your heart?--all you must do is place it on the heart of another. I can't kill anyone now, protests Jeb. How you've changed, remarks Angelique[/spoiler]
I'm here with Quentin's regrets, says Barnabas--he's left Collinsport. He got away! exults Charity, I'm so glad for him! Left Collinsport? asks Petofi. Yes, he's finally escaped you, says Barnabas, but no matter how angry you are, you can't make this girl pay for it--let her go and deal with me, nothing will be accomplished by killing her. Petofi exhales smoke, chuckles, and agrees--you are right--it is you I must keep--Charity has an excellent chance of surviving the present situation if things go as I expect. Untie Charity, he orders Tate--I've been figuring on using Quentin's body because I know he exists in the future, but now Quentin is gone and I must resign myself to not seeing him until I get to 1969. You don't exist in 1969, protests Barnabas. But I will, exults Petofi--"In your body." Barnabas' mouth drops open--NoThe solution has been under my nose all the time, and I haven't seen it until now, says Petofi, but my eyes aren't what they used to be.
Collinwood - Julia comes downstairs, worried. She eyes the silent phone, then turns as Amy and Liz enter the house. Liz almost faints as she describes the wild animal that almost attacked her. Liz sits in a chair describes what looked like a wolf--and, as incredible as it sounds--it was dressed like a manJulia looks skeptical, but says if Liz saw it, there must be an explanation. Julia goes upstairs to get Liz a sedative and tells Amy to stay with her.
Liz begins to moan and twist in her sleep, and she finally dreams: Amy, in night clothes, is singing "Rockabye Baby," in the middle of the woods. Liz approaches her and asks if she came to see "her," too. I heard her voice, telling me to come here, says Amy. Liz isn't sure if she heard the voice, but figures she must have. Liz is nervous and wants to go back, but Amy tells her "she" wants to see them.[/spoiler]
I want you to stay with me--and never make any attempt to return to the future. Why do you want me to stay? He asks. So we can be together, she says. "After all that's happened, you still want me?" he asks. Replies Ang, "I'm your wife. Husbands and wives should be together." She lifts her ring finger to show she is still wearing the ring he placed there on their wedding day. He darts forward and venomously informs her--I can't even pretend to love you. She retorts that she isn't asking him to pretend anything, she only asks him to stay here with her. If I stay, I would remain as I am, he reminds her. Yes, says Ang, it would be quite a sacrifice--are you willing to make it for your precious Miss Winters? Can I trust you? Barnabas demands. Can you save Vicki alone? she counters. No, he admits. Then you have no choice, she says, you must trust me. Perhaps, he says. She softly asks, will you stay with me--forever?[/spoiler]
Collinwood, Julia's room - Barnabas tells Julia Woodard must die--and SHE must help him do it! When she steadfastly refuses to kill her friend (or former friend, as Barnabas so cruelly points out), the vampire promises Woodard an agonizing slow death at his own hands. Which way does Julia want it?[/spoiler]
she comes in, sits quietly, alone, doesn't want to talk much, or eat much--doesn't eat anything--just sits there with a cup of coffee--which she seldom drinks--I don't think she's finished a cup yet. Burke helps himself to more coffee. He gives her some, too. I was just a kid, says Maggie, but I remember you used to go with her. She was quite a girl, says Burke softly, I don't think I've ever met anyone as fun or exciting to be with. When a man says that about woman, she must have meant an awful lot, says Maggie. Yeah, he says, if she'd married me, our lives would have been different in this town[/spoiler]
Whoever it was tried to get into my room wasn't a prowler or burglar, says Vicki, he was after me. Matthew enters and asks, "What about a prowler?" Liz stands and thanks him for coming right away--Miss Winters thinks someone tried to force his way into her room last night. That doesn't seem likely, says Matthew, the house was locked up good, I saw to it before I went to my cottage. Couldn't the window have been locked? Asks Vicki.[/spoiler](http://www.dsboards.com/epimgs/0104-0.jpg)Not unless twas unlocked after I made my rounds, says Matthew evenly. Do you always check the house every night? asks Vicki. Part of my job, says Matthew. Well, says Vicki then it must have been someone already in the house. That doesn't include many people, says Liz. I don't think it was anyone who lives here, says Vicki--someone could have gotten in during the day or earlier in the evening and hidden in any one of a dozen rooms. That's possible, says Liz, but it still doesn't explain why--
Petofi's mind in Quentin's body, Beth muses, panic-stricken--soon he'll find out I know about it, and kill me! I can't go to Collinwood, there must be someone in Collinsport...but even if there is, they'll think me crazy! No, wait, there's Tim Shaw--he knows about Petofi and how much power he has, Tim Shaw is my only hope! She hurries from the mill.[/spoiler]
Eve gets annoyed and says they'll be asking her next about Leona Eltridge--Adam seemed to think the name would mean something to her, too. She finds them and their questions strange. Barnabas thinks it odd SHE has so few questions. She asks if she will stay here. Stokes turns to Barnabas, and there is no answer. When will it be decided? she asks. Stokes asks if she wishes to leave--and where she would go? She's pissed they aren't answering her question. "I am used to my questions being answered!" she says. Barnabas jumps on that, demanding to know WHEN she was used to that? She doesn't know, she says, suddenly upset--what do you want me to say--tell me, I'll say it!--you gave me life, you must have a reason--tell me what to do and I'll do it, but I want to talk no more.[/spoiler]
Julia is alone in Josette's room, sitting at her dresser, touching her brush and comb, musing over Barnabas' obsession with this woman, trying to fathom why. She talks to herself--why can't this dead woman STAY dead and buried? Julia hears a sound and demands to know who's there. She must be scientific about this Josette business.[/spoiler]
Burke introduces Blair to Carolyn Collins Stoddard. How did you know my middle name? asks Carolyn. It had to be that, says Burke--Mr. Blair is a nefarious old swindler who I am engaged with to defraud your mother out of every single one of her vested interests. Oh, come off it, giggles Carolyn, it's nice to meet you, she says. Mr. Blair is an old friend of mine from New York, says Burke, who just invited me up here for a drink--how will that do? I'll buy that, she says. I thought you would, says Burke--and I will buy you lunch. She sits in the booth. Unfortunately, says Burke, Mr. Blair has another appointment, don't you, Mr. Blair? Yes, says the letter, checking his watch, I'm rather late now--great pleasure, Miss Stoddard. He leads Burke away from Carolyn. Burke tells him to go back to the hotel, he'll call him later. Blair agrees, then turns to Carolyn and asks her to forgive him for not joining them, but business before pleasure. Burke sits beside Carolyn, who asks him if it's possible he got rid of him so he could be alone with her. Why not? asks Burke, you're much prettier than he is. But I thought you said money was your first love, she says--and Mr. Blair must represent money. Oh, he does, my dear, says Burke, he DOES!--Mr. Blair represents more money than I'll ever see--and of course it's true I do have a fondness for the stuff, but only to buy pretty things for attractive young girls. Are you putting me on? she asks, grinning. Why on earth would I do that? he asks. I admit, I acted like a child, following you here, she says, but please don't treat me like one. Very well, Miss Stoddard, he says, how would you like to be treated? Oh, well, like a girl you really had a lunch date with, she says, Splendid, says Burke, now we shall start by ordering a splendid lunch--[/spoiler]
Petofi lies on the floor, his glasses have fallen off his face, so when he comes to consciousness, and everything is blurry. He stares around himself, confused, his vision near blindness. He reaches out blindly, pushing aside the glasses. Aristede enters. Who are you? asks Petofi--what's happened to me?--what are you gonna to do me? Aristede picks up the glasses--"I'm going to help you," he says. Who are you? asks Petofi. Put these on, says Aristede, handing him the glasses. Petofi does so and recognizes Aristede. At your service, the other man says. What am I doing here? asks Petofi--how did I get here? You've been here all along, says Aristede. "Is this one of his rotten tricks?" demands Petofi, grabbing for Aristede's lapels--I'll make him tell me! Then Petofi notices his hideous hand. (Someone sneezes loudly in the background.) He holds it up, asking hysterically, give me a mirror! Aristede laughs at him--there's no mirror here! "Aristede, for God's sake, tell me what he's done to me!" cries Petofi. The other man just laughs. Someone else is laughing--Quentin, standing in the doorway. "My boy," he says, "we must get you a mirror." His eyes are filled with mirth. He holds up a mirror in front of Petofi. "Oh, NO!" he moans. Yes, says Quentin--yes, you know, there is an essential difference between us--your mind is having great difficulty adapting to your new body, while mine is making the transition with incredible ease--how exhilarating is it to be young and handsome and so full of energy again.[/spoiler]
Roger is on the phone still, hand impatiently perched on his hip. He drops it back in the cradle, dials, then cuts off the call with a guilty expression on his face when Liz comes in. He claims he was trying to get the office on the phone, and she asks if that isn't where he should be. He faces her and says he had a valid reason for being home--he prevented Carolyn from meeting Burke. Why would Carolyn want to meet Burke? Liz asks. He claims that question is open to the wildest of speculation and she orders him not to be silly. She asks how he prevented the meeting, and he explains how Carolyn deliberately left her ring at the restaurant, where Burke found it. Carolyn had every intention of going back to get it from him. Liz pooh poohs this idea, but Roger, grinning, asks smoothly, "When you were a girl, didn't you ever accidentally on purpose leave something behind as an excuse for returning?" Liz imperiously asks her brother if he thinks Carolyn is really interested in this man, and Roger kindly responds that it's her daughter, her problem--he has his own with his son.[/spoiler]
Why did you do that? she asks. I don't know, he says resentfully. It was a terrible thing to do, she says, stroking his hair--you almost went over. I was so scared! He says. What were you scared of? she asks--nothing to be frightened of. Yes there is, he insists--it's--he looks at Laura, who's back is turned--I don't know, there was something about her eyes. This is the second time you've run away from your mother, says Vicki--you mustn't do that--she's come such a long way just to see you, and now she thinks you don't want her. I don't know, he moans. Look at her, says Vicki, turning him toward his mother--she's crying because she loves you and you won't even let her touch you. Do you really think so? he asks. I know it, she says gently--the one thing that's very important in her life is you--you told me a lot of times you wanted your mother to come back--now she's here and you act as if you don't want to see her There's just something I can't explain! he says, agitated.[/spoiler]
Barnabas strongly urges Willie to get Jason McGuire and his questions off his back, but gives poor Willie no idea how to go about it--just get it done! He tells Willie Jason is all his problem and that he wants to meditate--leave! Defeated, Willie goes.[/spoiler]
Angelique lies on her bed and Ben comes in without knocking, pissing her off. He calls her M'lady, sarcastically. He congratulates her for having them all dancing like puppets, and she tells him she always gets what he wants. Then he tells her that, in the meanness department, Joshua is a saint compared to her! She is angry that a convict dares to speak thusly to her and calls him stupid. He tries to strangle her for that, but of course can't follow through. She suggests he stick around and watch the fireworks. She wants Barnabas to know about Josette and Jeremiah before they return as a married couple, and she's going to hasten that. He'll feel humiliated and turn to her--without having to use a spell. She doesn't want to get Barnabas that way;[/spoiler](http://www.dsboards.com/epimgs/0381-2.jpg)she wants him to be truly hers, of his own free will--and it's going to happen!
Lang will go without sleep until the project is finished, and tells Barnabas he is as important to the experiment as he is--Barn will give his creation life.[/spoiler]
Why did you send for me? asks Stokes--I'm not a wizard who transports people through time. I know that, she says. Is he here, listening to them? If so, he'll give her a sign, says Stokes, a sign to forget this insanity. Is loving insane? she asks. It has been known to be (make a list of DS characters whose love was insane.)[/spoiler](http://www.dsboards.com/epimgs/0641-2.jpg)I won't accept that, Vicki insists--you have my husband something that last night, that made him know he'd lived before and enabled him to be called back. Stokes admits to giving him three Indian herbs. Vicki wants them, too, but Stokes refuses--I can or cannot, wish to, or not, but not must. She asks him not to wordplay.
it wasn't easy telling the police what happened--this house is a private place. Murder is a very public thing, counters Carl. That's why I agreed to cooperate with the police, says Judith--I did what had to be done, as I always do. Carl giggles derisively. Well, I convinced the police, says Judith--had them in and out so fast, didn't let them search the grounds--I had Dirk do it. Dirk searched and found no one, says Carl. The murderer is down by the docks, says Judith, I'm sure a transient sailor struck up a discussion with Quentin in a card game and found a way to make a fortune for himself. It was done with Quentin's own knife, Carl reminds her. We made no attempt to hide that, says Judith. It could have been almost anybody Carl starts to say, but Judith gives him a look and he falls back on the transient sailor theory she suggested. It could have been someone else who is still here, insists Carl--I understand your need for privacy, but I'm your brother, and Quentin's, and I know Quentin wasn't killed by a stranger. Judith says the murderer knew him. His family, friends and his women had reason to hate him most, insists Carl. He smiles, laughs evilly--I have some ideas about that, but they must be said. Let Quentin rest, demands Judith.[/spoiler]
The baby is sick, says David, I've come to make it better--such a beautiful baby... Give me the baby, asks Megan. David hands the baby to her, then gives her a pouch--after you give it to him, the fever will go down, he promises--it's a kind of medicine, just what he needs--I know. Philip begins, "What you just saw..." You don't have to explain it to me, says David, I understand exactly what was happening. You stole the book, didn't you? accuses Philip. Yes, says David. Give it back, orders Philip. It isn't possible, says David--I am the keeper of the book and protector of the baby[/spoiler](http://www.dsboards.com/epimgs/0898-1.jpg)--we all have our duties; you've found yours and now I have found mine. How do I know I'm not being lied to? asks Philip. You aren't, says Megan--I know he's speaking the truth.
Drawing room - Sabrina is arranging the participants, telling them where to sit. The others will come, she says--Mrs. Stoddard, sit down...why am I the only one who knows we must do this? I feel we must do it, agrees Liz, not just for Sabrina, but just because I feel we should. I refuse to participate, says Roger. Are you that frightened? asks Liz. Indignant, he walks over to get another chair, brings it over, and arranges it at the table.[/spoiler]
As Barnabas and Julia enter Collinwood, she reminds him, only terrible things have happened every time we've come there. We've been trying to get Carolyn to talk, he reminds her--now that she's willing, you're against it. I'm not against it, she says, I just think it's a trap-Barnabas, please, please forgive me, but I'm too frightened to go in there now. Wait here, he says gently. Barnabas finds Carolyn sitting at the desk in the drawing room, writing another note. He says, "Carolyn, I can't tell you how much this means to me-I know how difficult this must have been for you. . ." He sees how still she is and touches her shoulder. "Carolyn?" he says. She topples from the chair and falls to the floor, dead. CAROLYN! screams Barnabas.[/spoiler]
Ben comes downstairs and into the drawing room, arm in arm with Daniel. You must be Daniel Collins, says Barnabas, smiling. Amazing! says Daniel--(Ben looks nervous--absolutely amazing--I've been waiting so long for you to come back[/spoiler](http://www.dsboards.com/epimgs/1118-1.jpg)--you look exactly as you did when I was just a boy. Barnabas looks worried, Desmond fascinated. Is the cat about to be released from the bag?
Well then, if Morgan wants it, Bramwell will be invited to the wedding--it's as simple as that, says Catherine.[/spoiler](http://www.dsboards.com/epimgs/1196-1.jpg)Is it? asks Melanie, showing her father Morgan's wedding invitation. The old man grows agitated and clutches his chest. Melanie embraces him--Papa!--Catherine, go get my father's medicine--you'll be all right, says Melanie, please, Papa, don't leave me!--don't leave us now! She must not marry him! Justin struggles to say, his head tipped back--no strangers in the house! You're upsetting yourself, protests Melanie. The room, the room! he cries. Don't speak of it! she orders, don't! No, I must now! he says. Papa, she assures him, we will not have that lottery again--you will live, Papa. The door closed, he rants, the door. . .we must talk--you are the only one I will talk with--close the door. She does so, blocking the scene off from Barnabas
This is the first time I've ever been in this room, remarks Sam--it's beautiful. It's dark and gloomy and you know it, says Liz--please get to the point. To me, says Sam, any room that has paintings on the walls is a beautiful room--they're all ancestral portraits, aren't they? Yes, says Liz. Do you know that your husband once consulted me about doing his portrait? asks Sam. Paul? asks Liz. Yes, I remember distinctly, says Sam, it was the same size as that one over the mantelpiece--I believe I have some prelimnary sketches, if I could find them, perhaps you'd be interested in seeing them. No, I don't want to see them, says Liz, turning away. Strangely enough, someone else asked me to do a portrait with the same specifications, says Sam--well, that is, he mentioned the size he wanted--identical to that one up there (he indicates Jeremiah). You don't often find subjects in a small place like Collinsport, remarks Liz, not customers who can afford to pay the price--is it a local person? You might know him, says Sam, he used to be a friend of your brother's. You must mean Burke Devlin, says Liz with distaste--did you agree to do the portrait? Burke is a very persuasive fellow, says Sam, besides, he has an interesting face. Have you had a chance to talk to him at any great length? Asks Liz. Not yet, says Sam, but if I do the portrait, of course, it will mean several days of sittings.[/spoiler]
Barnabas' plan comes out as he escorts Maggie into Josette's room, which has been lovingly and painstakingly refurbished. "This is your room," he tells her, "just as you left it long, long ago." He calls her Josette and says that will be her name from now on. She repeats the name, wonderingly, questioningly, and sits down to gaze at her reflection in the vanity mirror. They are going to be together from now on, he assures her, and enjoy the happiness they were denied so long ago.[/spoiler]
Vicki comes in from visiting the post office bearing more wedding presents for Barn and Josette. She muses that if she ever gets back to her own time, she'll never again want to know anyone's secrets. Natalie enters and says the gifts will have to go back. How long have you known about Jeremiah and Josette plans to elope?, the Countess demands of Vicki, who denies knowing anything.[/spoiler]
Willie joyous returns to the Old House. Barnabas tells him he must obey certain rules: remain inside the house and go outside only if accompanied by Barnabas. When Willie asks why, Barnabas explains that certain people will need time to adjust to his being home. Willie asks if Barnabas thinks he'd hurt anybody, and Barnabas assures him on that score. He sends Willie to his room to rest, and Willie goes upstairs, a smile on his face.[/spoiler]
Rachel is in the drawing room when Judith comes in and assures her Quentin won't rise again. Rachel thanks her for letting her know. It's near dawn, says Judith--you must get some rest. Rachel volunteers to shut off the lights,[/spoiler]
The phone rings. When he picks it up, he's relieved it's Carolyn, who apologizes--David forgot to give me the note. Can you come down now? he asks--I might have to go out of town. No, she says. Please, he begs--have you spoken to your mother?--I MUST see you. Carolyn is interrupted by Liz, who says, we have to go. Carolyn whispers to Paul, I have to go; I'll try to see you later.[/spoiler]
Stokes' cottage - Hannah Stokes does Bruno's horoscope, which reveals, the stars are in opposition, the heavens are in turmoil--beware! she advises. Of what? he asks. Some alien forces at work against you, she says. Could this alien force be of the spirit world? he asks. I can only conjecture, she says, but my answer is yes. Can you anticipate my next question? asks Bruno. You want to know if it's the spirit of my niece, Angelique, she guesses. Well? he asks. You know as well as I do that the charts convey nothing of such a thing, says Hannah. This woman at Collinwood, posing as Alexis is Angelique, says Bruno, and I must have proof to end this uncertainty that's driving me out of my mind--that's why I brought you here tonight.[/spoiler]
Gerard returns to Collinwood to alert Gabriel and Edith about his grisly find. Poor Ben, comments Edith--what a horrible way that was to die. At least he lived to a ripe old age, says Gabriel, unconcerned--more fortunate than some people--Gerard, how much time did you spend with the police? Several hours of questioning him, says Gerard. Where is the body? asks Edith. Gerard explains that they marked it down as a suicide, and the body is with the police--the frightening thing was, Ben looked like he'd cut his own head off. Edith says she doesn't want to hear anything more about it. The family must be informed at once, decides Gabriel--Edith, go find Carrie. Edith rises from her chair and says she can't do that--she can't break it to her! Find a way and do it now, says Gabriel--I'll have to talk to Father--that should be the high point of my day. Edith hurries out.[/spoiler]
I also know the kind of life I want--and I know the two of us could never find it together. But you and Morgan will? he asks. Yes! she says. You are telling yourself lies! he says, we belong to each other! No, we're too much alike, she protests, we'd destroy one another--and we could never find the kind of stability I must have if I'm to be happy. In other words, a poor Collins won't do, he accuses--you must have a rich one. That isn't fair, she says. But it's TRUE! he shouts--look at me and tell me you love Morgan Collins. I do love him, she says. I don't believe that, says Bramwell, I don't believe you love him, nor do I believe he loves you--he only wants you because he doesn't want me to have you! That's not true! she says. Not only is it true, says Bramwell, it's been the story of my life at Collinwood--my father, Barnabas, who was driven to his grave by this family--from that day on, they devoted themselves to making me and my mother miserable. Justin Collins always loved you, Catherine reminds him. Yes, says Bramwell, he was the one exception--but before he could give me my rightful place in the business, that accident happened, and from that day on, his (two--there are three?) sons saw that I stayed the poor relation--yes, Bramwell Collins must stay in his place--and that's why I left Collinwood--and now I return to find that they have claimed you, too. She rises--no one has claimed me, she says--the decision was mine to make and I made it. This is the final insult, says Bramwell, I suppose they rejoiced when you said yes to Morgan.[/spoiler]
This information you think Pop has, says Maggie--it concerns somebody else, right? Yes, says Malloy, sipping his coffee. Then it must be either Roger Collins or Burke Devlin, says Maggie. Why did you say that? asks Bill--did your father mention either one of them, or both? Not exactly, says Maggie, but they've both been to the house, and no one else has--it stands to reason it has something to do with Burke coming back to Collinsport. Then you have noticed something different about your father since Burke came back, says Bill. Sure, says Maggie[/spoiler]
Barnabas himself appears. The girls wax rhapsodic about the room, which Barnabas admits is Josette's-"brimming with femininity."[/spoiler]
Foolishly, Vicki says she likes cats, but Abigail insists she hates them. Vicki wants Abigail to leave her room when she does, but Abigail reminds her they own the house and can go into any room they want. She tells Vicki to tell her master that she, Abigail, is his enemy, and orders Vicki to go to Naomi. After Vicki leaves, Abigail informs the cat it won't stop her, and she begins searching Vicki's dresser drawers.[/spoiler]
Jeff lies on the sofa, at the Evans cottage, reading. He hears the tinkle of Josette's music box and then a bang at the door. He can't stop thinking about the dream. He has to do something about it or go out of his mind. There's a knock at the door for real, and he answers. It's Lang. "No, it can't be," Jeff says, agitated. It's happening just like in the dream, again![/spoiler]
go to Rachel's room--I'm afraid for her, and my presence has caused a spell to be cast. You bring trouble wherever you are, Magda slings at him. I'm not that callous, insists Barn, I want no harm to come to Rachel. What is the spell? she asks. You don't need to know that, insists Barn. I won't go! Says Magda. You must, says Barn--Quentin is buried and Rachel may be summoned to the grave--a ridiculous trick Angelique will like--tell Rachel I sent you, he commands her, and tell her that she isn't to leave the room and no one will get in there--report to me at dusk. Payment, says Magda. My gratitude, says Barn. Not enough, says Magda. Sandor rises from his soup and tries to intervene. "He is under your control, not mine!" snaps Magda. Barn reminds her, I can easily change that. Sandor begs his wife to go--do as he says. Furious, she leaves.[/spoiler]
Maggie, upstairs in Josette's room, prowls restlessly around, and even though Willie tries his best to get her to sit and relax, she hears Sam's and Joe's voices and reacts to it.[/spoiler](http://www.dsboards.com/epimgs/0239-3.jpg)Willie finds everything falling down around his ears as she says she doesn't want to stay in that room, she wants to leave! "Pop," Maggie whispers. "Joe." This wigs out poor Willie, who is still trying to get her to remain in Josette mode and not cause trouble that will bring Barnabas' wrath down on them. Maggie struggles in Willie's grasp and something falls. Sam and Joe hear it, but Barnabas says that's just his clumsy servant, Willie.
Barnabas seals the envelope as Willie worries things won't be the same; suppose they won't let Adam live there, what will happen to him? Trust me, Willie, says Barn, things are changed at Collinwood--make sure only Liz gets that letter. Willie asks if Barnabas will see him before he leaves. Very likely not, says Barn. He assures the anxious Willie he'll recognize him upon his return, being deliberately unsentimental--even in the other body, he'll know who he is--I promise.[/spoiler](http://www.dsboards.com/epimgs/0485-2.jpg)Willie is still sure it won't work, and as the dogs continue to howl, Barnabas tells him it will work--because it must! Willie leaves with the letter.
Barnabas returns with the zombie Quentin. Judith says they can't come in. We must, insists Barn. She tells him about their unexpected visitor. There's a small pulsebeat, Barnabas tells her, their noses nearly touching--Quentin must be near Jamison. He's with the visitor, protests Judith. "Are you willing to let him die again?" demands Barn. She relents. She moves out of the way and Barnabas leads Quentin into the foyer, then the drawing room. Judith closes the double doors, saying, I can't bear to look at them--"Can he hear us?" Barnabas doesn't know. What will I do, frets Judith?--if he comes downstairs, he'll see Quentin!--this can't be known! Barnabas tells her that he's learned that nothing can be known for sure. This must be kept secret, she insists. Barnabas re minds her this isn't Quentin's fault.[/spoiler]
Barnabas comes across David in Josette's room and maintains his cool beautifully. He works on the kid a little, trying to convince him Josette is a fantasy (take a dose of your own medicine, Barn!), and is understandably upset to learn his cousin has been looking through his windows where he might catch a glimpse of his kidnapped houseguest.[/spoiler](http://www.dsboards.com/epimgs/0240-2.jpg)He assures David it was no spirit that admitted him, but the capriciously-behaving front door of the Old House. Barnabas insists David give the portrait a good look, and the child admits that Josette isn't there.
Quentin awakens, smiling. A family conference, about time, I should say, he says--did you find "her" and lock her up? he asks Judith. Trask pushes him back down on the sofa, discouraging too much activity. Quentin asks Judith who this is--some new flunky? "You owe Reverend Trask a great deal," she says. Quentin chuckles. "Have you told him I never pay my debts?--I thought Trask a doctor--didn't anyone send for one, I've been stabbed! Barnabas assures him that time has healed his wounds considerably. Quentin thinks it just happened, in the cottage, but Barnabas tells him Dirk and I found you. Trask says he wasn't aware there had been an attempted murder and doesn't want to discuss it in front of the boy. Jamison demands to know who stabbed his uncle--was it you? he demands of his aunt--but Quentin assures him she wouldn't have the courage--she would only wish it done. Trask reminds him he's speaking of his own sister. Judith tells Jamison not to listen to his uncle. Quentin wants an explanation, but Trask insists that take place in another room. Quentin asks Judith if she's sure she's still in charge of this house, and tells his sister they have much to discuss, later. Barnabas and Quentin leave the room.[/spoiler]
Jail - Quentin, says Joanna, Daphne showed me one of the notes she's been receiving--"It wasn't my handwriting, so I don't know if it was mine, I didn't write it--do you know who could have done it?" I couldn't prove it, at least not now, Quentin says. We must find out, she says--we, I said we--for so long now, I've said I must do this, I must do that--now that I'm with you, I say we. He starts to say something. Joanna shows him her locket. Did you see this? she asks--I've been wearing it in the hospital--everything else is gone, it just disappeared--do you know when you gave it to me? Yes, I remember, he says, reluctantly. It was at my birthday, she says, grinning, you said next year, at my next birthday, I would be Mrs. Quentin Collins, living at Collinwood--next year, everything would be different. Yeah, says Quentin, pacing the cell, not knowing what to say to her remembrances.[/spoiler]
There's something I want you to do for us, he says, you have certain powers, psychic powers. She seems upset at his mentioning this. Stokes told Julia that you did, says Barnabas-that is why... That is why Claude North was interested in me, she says resentfully. Will you use them for us? he asks. I don't like to use them, she says, turning away from him. Do they frighten you? he asks. Oh, you know even that, she murmurs, pleased. We have a woman named Julia Hoffman, he says, we don't know if she's dead or alive-if she's alive, we want you to tell us where--will you do that? Oh, Barnabas, she says, unsure. You must not be afraid, he says. Right--I will try, she promises, but you must not expect too much. I have faith in you, he says.[/spoiler]
Will you make the shadow disappear? asks Jeb. That is the only way it will end, says Nicholas, but I have someone in mind who interferes with me constantly, and I don't like that. He hands Jeb a drink and asks, who'd ever have thought we'd be allies again--to new and bigger projects, he toasts. Whatever they may be, adds Jeb, smiling. They both down their drinks. Do you have the paper Angelique used to create the shadow? queries Nicholas. Yes, at Collinwood, says Jeb. Nicholas takes out his gold cigarette holder and says, the shadow must be turned on her, and it will be a very difficult thing to do. He shines the light in Jeb's eyes as he speaks. I'll do it, says Jeb, staring at the cigarette case, then away. Look at me, commands Nicholas--keep looking...[/spoiler]
Edward doubts the legend Barnabas related could have scared Rachel into fainting. It must be something else. Perhaps, says Barn. He asks Edward about Rachel's background. She's well-educated, her references are quite good and she managed herself nicely during the interview. What about her childhood or family? Edward doubts those things caused her fainting spell. Barnabas agrees[/spoiler]
if she isn't afraid, he'll be going, he says, but she asks him to stick around and talk. They sit by the fire. Amy asks what it's like living at Collinwood. Like any other place, he says. She remarks on how huge the house is. David says no one has ever counted the rooms--there's a whole wing, the west wing, closed off all the time--I don't want to tell you why, it will keep you awake (isn't he cute?) She guesses it's haunted, and bets he's never been to the west wing. I sure have, he insists. Is it true it's haunted? She asks. Maybe, says David.[/spoiler]
Liz stands before the mausoleum. The tomb is ready--and *I* am ready, she thinks to herself--there is no reason to wait any longer. She walks toward the mausoleum. Amy stops her, asking what she's doing here all alone. Liz turns to face her, speechless, in the foggy cemetery. Amy wants an answer. Liz tells her you shouldn't have come here. I saw you weren't feeling well, she explains, I wanted to help. No one can help, says Liz--you're very young, you must think about living, not death.[/spoiler]
Carolyn, dusting her room, is holding the soldier when she hears Sarah's flute--then the ghost girl herself appears! Sarah begs them not to send David away; she'll be lonely![/spoiler]
Frank looks after him oddly. I know what you're thinking, Pete, he says to Guthrie. We'll discuss it outside, says Peter--are you with me? I don't know, says Frank. We've gone this far, we can't stop now, insists Peter--Mrs. Stoddard's life may depend on what we're able to find out. All right, maybe I'm crazy, says Frank, but I'm with you. Good--let's go then, says Peter. The men file out of the crypt. You're going now? asks the caretaker--you're going to leave me? Yes, but we'll be back, promises Peter--we'll put the coffin back to where it belongs. You're going to her--Laura Murdoch Radcliffe, aren't you? asks the caretaker. That's right, says Peter. Be very careful, cautions the old man--the dead don't like to be disturbed--they don't like strangers walking on their graves--they might get angry--you must be very, very careful. I will, Peter assures him. You promise to come back? asks the caretaker. Peter promises, and they leave[/spoiler]
... And considering the caretaker is only in 23 eps, it's quite interesting that he already has 7 quotes in this slideshow - and even more may be possible...
I didn't write it! he hurls back at her--it was the widow! He goes into his room. Vicki returns to her own room and tells Carolyn, "That's all I needed tonight." Little David, says Carolyn--I still don't see how you stand all of it. Easy, says Vicki, finishing the job David started, just stay away from the edge of the cliff. Talking about the cliff, says Carolyn, did you see my wristwatch in the drawing room before you left? No, says Vicki. That's just great, says Carolyn--the stupid strap must have broken--I didn't even miss it until I was ready to go to bed--it could be anywhere! Maybe one of the widows took it, jokes Vicki, smiling. Maybe I'll just have to go right back out there and find it, insists Carolyn. Tonight? asks Vicki. Carolyn nods. Why can't you get it in the morning, asks Vicki. Because if it is there, says Carolyn, the ocean air will ruin it. Happy hunting, says Vicki. Carolyn asks if she'll go with her. Why, are you nervous? asks Vicki. Tonight, yes, says Carolyn--I suppose I am.[/spoiler]
she can be trusted now--she's seen the light--fascinating what a little kiss will do, isn't it? asks Jamison. Oh, I see, says Aristede, patting Magda's head, "Our gypsy friend is about to have her moment of truth." "I warned you that your time would come, Magda," says Jamison-- "It's coming now, you should see the horrible true self." Vacantly, Magda says, "I don't want to." "But you do," says Jamison, "and you're going to tell me all about it--I'm waiting, Magda." She says, "I am the cause of all the tragedy at Collinwood, all the pain and suffering and death, the unchaining of Barnabas, the death of Jenny, the curse on Quentin, the murder of my poor Sandor, and Julianka, I was the cause of it all. I must be punished for it, I must be punished!" No, says Jamison, nothing at all would come out of your being punished--"We're going to help you end this tragedy, you must do that, you know, don't you?" I do, she says, but what can I do?[/spoiler](http://www.dsboards.com/epimgs/0807-4.jpg)You can begin by taking us to our most formidable enemy, Mr. Barnabas Collins--we know what he is, how he lives at night and sleeps during the day in his coffin. He moves her face, forcing her to look at him. "You were his ally, and he told you where his coffin is, didn't he?" Yes, she says. You must begin by taking us there, says Jamison, in the light of day. Aristede listens eagerly. Yes, I will take you, says Magda. Jamison orders Aristede, help the lady up. The three of them leave the cell.
Barnabas tries to order Mrs. Johnson back to Collinwood, but Julia insists that she must speak to her--I'll never make it, Julia sobs--if you want the experiment to succeed, she tells her, I must clear my mind of this dream![/spoiler]
When Vicki leaves to check David, Carolyn mentions what an odd coincidence, Vicki dreaming about taking a walk--but strangely, she doesn't remember taking a walk for real with Julia.[/spoiler](http://www.dsboards.com/epimgs/0353-1.jpg)Julia thinks Carolyn is being hostile towards her, but the blonde assures her they're on the same side. "She suspects me," Julia thinks to herself. If Carolyn learns the truth, she'll tell Barnabas, so she'd better watch out--watch and fear.
Think about it, Vicki tells Matthew--think what'll happen if you kill me--the sheriff will find out, come after you, and he'll capture you and you'll have to stand trial for murder. No, he says, it won't happen that way. But it will, she says--the sheriff isn't stupid, he'll know how it happened. He didn't connect me with Malloy, says Matthew. That was an accidental death, completely different, says Vicki, this is premeditated murder--so he'll be questioning, and sooner or later, they'll question you. Why me? he asks. Because they'll find out I didn't leave Collinwood--Mrs. Stoddard will tell them--they'll know I must be somewhere here on the grounds--there are only four people here--Mrs. Stodddard, Mrs. Johnson, David, and you--she points at him--(not wise, Vicki; your concept is cunning, but this man has blinders on)--and sooner or later, they're going to come up with the right answer.[/spoiler]
Catherine opens the door to Josette. We must talk--alone, says the older woman. Yes of course, says Catherine, come into the drawing room. If you've come here to plead Bramwell's case, it will do no good, says Catherine. On the contrary, says Josette, I'm here to tell you I couldn't agree with you more.[/spoiler]
Collinwood drawing room - Leticia enters. Only Gerard is there. All alone, are you? she asks coldly. So you finally decided to talk to me again, he says. But not to forgive you, she says, not likely--sarcastically, she adds, where's your sweetheart? She went to Boston to be with her son, he says--what are you doing here, anyway? I'm here to see you, she says. So, you want something from me, he says--I never knew you to turn off your temper so easily--what's the matter? I don't want to stay at Rose Cottage anymore, she says, it frightens me--I want you to take me somewhere else. Frightens you? asks Gerard, what are you talking about? There's been a definite change she says, there's an evil spirit there, I can feel it. He starts to laugh. Don't laugh at me! she orders--I feel it, you have to believe me--I want to go someplace else--if I ever meant anything to you at all, you must help me now--she goes into his arms--please, she begs, as he caresses her hair. Gabriel enters and says my, my, your sympathetic shoulder is always available, isn't it, Mr. Stiles? (I love this guy!)[/spoiler]
Quentin follows Daphne to a door. She opens it and goes in, closing it behind her. Quentin opens it, too, and enters. He calls to Daphne. The room is obviously unused; the bed is unmade and cobwebs abound. He lights a candle. picks it up, and finds a note on the desk. He reads, "I tried not to tremble, but I couldn't help myself-nothing in my life has terrified me more than the thought that you love me-nothing in my life has..." that's all it says, it was never finished-someone loved her, and it frightened her. He calls to Daphne--I have so many questions to ask, and only you can give me the answers-why do you come to me, then go away?--you must have led me here for a reason-if you need help, there's nothing I won't do, but you must appear to me. The note disappears. Quentin calls to Daphne, but she doesn't respond. He blows out the candle and leaves the room.[/spoiler]
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.[/spoiler]
Antique shop - Carolyn writes Megan a note--I've been to Mrs. Davenport's, and stopped by to thank you for coming today--sorry to have missed you. Jeb comes downstairs quietly, sneaking up on her, and puts his hands over her eyes. She cries out, prying his hands away. "I frightened you," says Jeb, looking delighted. He introduces himself--I live upstairs--and you're Carolyn Stoddard. How do you know? she asks. He chuckles, not answering. Where are the Todds? she asks. Out, he answers. She turns away from him. Don't be frightened of me, he says. I have to be going, says Carolyn. No, he says, Megan and Philip told me so much about you. He brushes her shoulder with his fingers. You must forget about your father, he says. She gazes at him, astonished. "I will help you," he promises. I'm afraid no one can, she says. But you don't know me, he says, I know so many ways to help you, make you forget. She closes her eyes, then apologizes and says, I have to go.[/spoiler](http://www.dsboards.com/epimgs/0936-4.jpg)He stops her, a hand on her shoulder. You don't look at me when you talk to me, says Jeb. She turns to face him. That's better, he remarks. "You're shy, I like that--I like that very much." She stares into his eyes, but then, when he tries a more intimate touch, says, "Goodbye."
Anxiously, Edward asks, what do you know about Barnabas? As much as I need to, says Petofi--that he is a vampire--I know you wish to keep that secret (Tate is listening to all this from the other room), and I respect that and came to you instead of the police. How did you find out? asks Edward. That isn't important, says Petofi. Edward agrees--you could have gone to the police--I've been wrong about you, I think. (he still put curses on you and Jamison!) Magda can tell us where Barnabas is, says Petofi. She knows? asks Edward--I know how to deal with her! We can use her to lead us to Barnabas, says Petofi. No, says Edward--what must be done, I must do alone, it is my responsibility, difficult as it may be--there was always someone in the family who was supposed to know of his existence, one person who was supposed to keep him chained to his coffin--had my grandmother lived, I'd have been the one she would have told[/spoiler]
Joe sits in the cell, staring straight ahead. Patterson leads Julia into Joe's cell. I can't stay here, Joe tells Julia--I have to go, tell everyone. What? asks Julia. Chris, says Joe, left him in his room, don't know where he is--gotta find him. Julia assures him she did find Chris. Joe says he must get Amy out of Collinwood, she must never see it--ever! cries Joe wildly. Julia asks for clarification, and Joe says Amy isn't the only one in danger--everyone is--no, babbles Joe, no one should ever see it.[/spoiler]
Vicki lies on the bed, sobbing. The door opens and Angelique, dressed in 18th century garb, enters the room. "So we meet again," says Ang. You aren't real, assets Vicki. Ang assures her she is quite real. It isn't possible, you're dead, protests Vicki. Ang giggles--she isn't a ghost, and asks Vicki to touch her and prove she's made of flesh and blood. She takes Vicki's hand, proving her ghost is flesh and blood. You are real, says Vicki, but you died in 1795--is it possible?--have I gone back in time again and am living in 1795. It's possible, says Ang, and might be true. Ang can't tell Vicki why she's there or who is keeping her. It must be a dream protests Vicki, but I can't wake up. Ang says it's no dream, she really exists in this place--perhaps you're lost in a void in time suggests Ang, caught between present and past but belonging to neither.[/spoiler](http://www.dsboards.com/epimgs/0556-3.jpg)Vicki refuses to believe this. Ang says she's come to help her escape.
Naomi points out to her husband that Sarah needs a governess, and Jeremiah enters and quickly agrees. She's got the references, he says, and continues, explaining that the carriage overturned, she was wandering around the woods, and the name Victoria Winters popped into her head--which is why she gave that as her name. Abigail suggests he's bewitched by her beauty, and Jeremiah insists she's jealous of it (get her)! He goes on to wonder just who is the head of the household, Abigail or Joshua, and the latter insists that he wants to see Miss Winters. Angry, Abigail suggests her little brother has turned against her, too.[/spoiler]
Carolyn tries to run, but Tony grabs her arm and swings her around, demanding answers. She says she would lie to the cops, but not to Tony, and comes up with a fascinating little tale about a man with whom Liz had an affair and who, apparently, fathered Carolyn! One has to wonder if this might not be the truth as far as Vicki is concerned. Carolyn explains, with all sincerity and a catch in her voice, that this mysterious man, Liz' former lover, was planning to blackmail Mrs. Stoddard, but died before putting his plan into action. Julia got hold of the notebook, which was this man's diary, and was going to blackmail Elizabeth with it's contents. It would be a huge scandal for the Collins family, explains Carolyn, and she has to stop Julia no matter what! Tony likes the idea that the Collinses are as human and mistake-prone as anyone else--why don't they just pay Hoffman off?[/spoiler](http://www.dsboards.com/epimgs/0363-1.jpg)Perhaps alluding to the problems with McGuire, Carolyn reminds Tony that most blackmailers are never satisfied. She tells him to take her to the cops if he doesn't believe her, and home if he does. He chooses the latter option
Laura sits at a table. Maggie brings her coffee. So you're Sam's daughter, says Laura. In person, says Maggie. At the risk of sounding ancient, says Laura, I think I remember you when you were this high--I wish I'd known sooner. As a matter of fact, says Maggie, laughing, we were all wondering who you were. All? asks Laura. I'm a little ashamed, says Maggie--confession time--I've been trying to find out who you were for the last couple of days. Were you? asks Laura. Do you remember the other day when you came in, says Maggie, bringing over her own coffee cup and sitting with Laura--you sat with your back to the rest of the room--and my father came in and saw you from behind--he said you looked familiar but couldn't quite figure out who you were. He should have introduced himself, says Laura. Maggie makes a face. This may be hard to believe, but he must have been a little shy, says Maggie--he asked me to find out--now you must have been aware of all my questions. I was, says Laura, but I understand. Your arrival in this town has caused a lot of interest[/spoiler]
I don't want to be involved, insists Vicki. I don't blame you, he says, but I don't see how you can avoid it as long as you go on living in this house--I've been thinking about you and the pressures that you must be living other. You've added your share, she tells him. (You go, girl!) I'm sorry for that, he says, and I hope maybe I can make it up to you--I have friends in Florida--they have a delightful house and two charming children--they're desperate for someone to come down there and live with them and help take care of the children. What about David? asks Vicki. We managed before you arrived, says Roger, I'm sure we can work something out--Florida has wonderful weather, you know, and this house is right on the water--there would be no Widows' Hill, no ghosts, no dark corners, no pressure[/spoiler](http://www.dsboards.com/epimgs/0062-3.jpg)--you'd be free of us and away from probings and questions and all the rest of it. Vicki grins and says it sounds very lovely--but I'm afraid I have to say no.
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.[/spoiler]
We see candles, smoke, a beautiful coffin topped with flowers. Carolyn and Roger, dressed in funereal colors, stand by the coffin. Roger wants to know why the coffin was open, he ordered it closed. Carolyn remarks that Liz, lying in the coffin, looks beautiful. Liz speaks to herself--she isn't dead! She must open her eyes, try to open your eyes, try to move. You must show them you aren't dead-you must. Roger tells Carolyn he's closing the coffin. No, says Liz silently. Liz can neither speak nor move--they're going to bury her alive. Carolyn asks if Roger must close the coffin now, and he says yes. He closes it over Liz. Carolyn sobs, and Liz silently begs them--I'm not dead, I'm not, don't bury me! Roger leads the crying Carolyn away.[/spoiler]
Julia brings Vicki to "Maggie's cell" in the Old House basement, which now contains only the coffin Willie had crafted for Maggie. Julia tells the tranced-out, protesting Vicki that the coffin is intended for HER--Barnabas plans to make her what he is, then make her his bride. Vicki protests that she doesn't WANT to be his bride,[/spoiler](http://www.dsboards.com/epimgs/0354-3.jpg)and Julia again reinforces the only way she can avoid it--recoil when he touches her, behave frightened of him when he's in her presence--resist his will. Vicki vows to do just that.
Bill raises his glass heavenward, asking for another--you care to have anything, Princess? He asks Carolyn. Like what? she asks, smiling. Like whatever it is you like, he falters. No thanks, she says, I've got to be getting home. Going up to Collinwood, he says. Sure, that is where I live, isn't it? she reminds him. I should be going up there myself, he says, to see your mother. Great, she says, I'll give you a lift. I'm not ready to leave yet, he says, I'm in no hurry to add to her distress. Now what do you mean by that? asks Carolyn, sitting back down again--are you going to tell her about my meeting Burke, because I didn't make any secret of it--when I called from Bangor, I told Vicki about it--I just happened to mention, casually, in passing. It's best to be above-board, says Bill. Then why make a big thing of it? asks Carolyn.[/spoiler](http://www.dsboards.com/epimgs/0044-0.jpg)I wish what I had to tell your mother was as simple a matter as that, says Bill. I'll tell her I saw you, says Carolyn. You do that, says Bill--tell her I'll be seeing her soon. Carolyn turns and gives Bill a disturbed glances before leaving the bar.
Vicki picks up the locket. Weren't you wearing this locket the other day? she asks Laura. This locket?--of course not, says Laura--how could I have been, it was in Phoenix, I just got it back. Would you have one like it? asks Vicki. Well, no, says Laura. I could have sworn you were wearing one just like this, says Vicki, why we even talked about it--you told me that you kept it with you always because it had a lock of David's hair in it--don't you remember? Yes, says Laura, I remember the conversation; I was telling you about this locket. Yes, says Vicki, and I'm sure you were wearing it, I remember distinctly, it was on that chain--she indicates the one Laura is now wearing. Laura holds the chain. You must be mistaken, she says--I don't remember what I was wearing, but whatever it was, it wasn't that locket, it must have been another piece of jewelry. I see, says Vicki, staring at her. You remember the conversation, says Laura, so you thought you saw it--but of course you didn't--you couldn't have, could you? No, I suppose not, says Vicki. Why are you looking at me that way? asks Laura. I was just thinking it's time for me to get back to the house, says Vicki, setting the locket down on the table. They say goodbye, each knowing the other is lying[/spoiler]
David talks to Maggie/Josette, who is played today by KLS instead of the silent stand-in. Her voice is high-pitched, weird. She was in a place of death, she tells him, but she's come back. She seems surprised to hear him refer to this as her house, and shows him her music box, a gift from "someone." He's very happy she's conversing with him, as is she.[/spoiler](http://www.dsboards.com/epimgs/0241-1.jpg)There's something important she's trying to remember, but it isn't coming to her. They'll talk often, she promises.
When Jeremiah awakens, her entire mood, once lighthearted, passionate and flirtatious, has changed--she wants to go back to face the music at Collinwood. She's crying, wishing she had told everyone before they eloped. He reminds her they tried to fight it, but it didn't work. When he tries to touch her, she orders him not to, but he reminds her they're married (so that gives him the right to, I gather).[/spoiler](http://www.dsboards.com/epimgs/0383-1.jpg)"Take me back, tonight, now," she demands. She tells him about hearing Andre's and Barnabas' disapproving voices, and feels they have no right to happiness.
Lab - Julia tells Barn Eric tried to tell her something important before dying: "If they both live, then, listen, listen," and then he lost consciousness. Julia hates this room, this experiment, it killed him as much as she did. If not for the secret, he'd have let her send for help. Barnabas tells Julia they can't be emotional about Eric's death; his every instinct tells him to let go, get revenge, but there is no time--the experiment will go on, as will Julia. While the body may have 48 hours, Barnabas isn't sure HE does--his vampirism is returning, all those urges--Eric's formula is less effective. She prepares the potion.[/spoiler]
Roger goes into the drawing room and opens his briefcase on the desk. A large book falls from the piano to the floor. Roger turns and looks at it. He picks it up and opens it. He finds a piece of paper inside, a letter. He looks at it, puzzled. When Carolyn comes in, he tells her it's a letter addressed to his father, Jamison, dated 1887. He must have been a boy, muses Roger. "Dear Jamison, you must return to Collinwood, I need your help. You must intercede with Oscar. Only you can save me." They wonder what it means. It's signed "Quentin." Roger doesn't know the ancestor, who spent most of his time abroad, well. Roger describes how he found the letter in the book, which toppled from the piano. He wasn't anywhere near when it happened. They wonder how it could have fallen. Carolyn says SHE did it--Magda--she wanted them to see the letter. This name is unfamiliar to Roger, but Carolyn explains about Magda's spirit being in the house. She wanted them to see the letter--but why?[/spoiler](http://www.dsboards.com/epimgs/0643-3.jpg)Roger and Carolyn sit before the fire. I'd like to call it nonsense, he says, the seance, the book falling, but I can't--neither of us imagined what happened tonight--what is the significance of the letter? "Stop them!" bursts out of Carolyn's mouth. She doesn't know why she said it, or what it means--it was Magda speaking through me, says Carolyn, a warning. Roger doesn't understand, but Carolyn says Magda is still there, speaking through her, warning them--someone in the house is in danger, and it could be any one of them.
Charity Trask and Rachel Drummond each wonder what the other is doing at Collinwood. Charity enters and drops her suitcase. What a splendid school this house would make, says Charity, who wants to know why Rachel hasn't answered her question. Rachel defiantly says, I don't have to. Unfriendliness is a character fault, says Charity, as my father has said so many times. Rachel isn't at all interested in what "your father has to say." You should be, says Charity, he is (interested) in you. Rachel explains she works for the Collins now.[/spoiler](http://www.dsboards.com/epimgs/0727-2.jpg)Charity asks, "Do they KNOW about you?" Rachel looks scared. Charity says, your face has answered that one for you--servants must be very hard to find. "I'm the governess," says Rachel defensively. There is some justice, comments Charity--if my father were given to amusement, that would amuse him. "Will you take me to him, or is that someone else's. . .job?" Rachel is horrified to hear the Reverend Trask is here.
Let me go, says Julia, near tears-he's watching us, I know it, somewhere outside this house, he's watching, he knows what's happening here-"Barnabas, go, go!" Look at me, Julia, commands Barnabas. She refuses, turning away. Look at me, he repeats-you can hear me, you will do as I say-"Now, look at me!" Her head swivels around with reluctance; they lock eyes. "You can escape," she says. "Not without you," he responds tenderly. "You can't take me with you," she says, shaking he head. He moves in close, almost within kissing distance, and adds, "Never without you." You won't be able to take me, she warns. I will, he insists -you must believe me, I will. I can't, she says. Once we are back in our own time, he can't get to you, he reminds her-"You must depend upon me, not him!" She tips her head back and sobs. He says it again--"You must depend upon me!" Julia falls into his embrace, crying, "How could I ever...?" You must never blame yourself, he says, holding her close, rubbing her back with his hand. Oh, but I do, I do, she says[/spoiler]
She flatly informs him, I can't do anything to help you, because the spirit that roams these rooms won't be driven out--it wants to stay--and it's powerful--believe me, most powerful! There must be something that can be done, protests Quentin. Look! says Hannah, pointing to the desk drawer, which is opening by itself. What does it mean? asks Quentin. Look inside and see! blares Hannah. Quentin opens the drawer and takes out Bruno's sheet music, which has blood on it.[/spoiler](http://www.dsboards.com/epimgs/0993-4.jpg)There's a note, says Quentin--"It must be tonight." In whose hand? she asks. I can't make that out, he says--it's printed; it's all got to mean something--Bruno, the music, the message. All I know is, says the terrified Hannah, I must leave this house! You mean you can't explain anymore of this? asks Quentin angrily. I'm too frightened to try, she admits.
I'm sure Olivia is acting for him, says Julia--Quentin is still alive. Barnabas calls her "a bad detective" (ouch!)--you're wasting your time as well as mine. I contacted Jamison and asked for Quentin, says Julia--he told me Quentin's spirit is gone--that can only mean Quentin is alive! You sound like a hysterical woman novelist, says Barnabas--it doesn't matter whether Quentin is alive or dead, or if Amanda is here, I'm simply not interested in them. What ARE you interested in? demands Julia--and don't tell me nothing, because I won't believe it--I know you must care about something, but WHAT, Barnabas, what? Carolyn runs in. Barnabas is immediately concerned. I must speak with you, Julia, says Carolyn. Barnabas asks, exactly what is wrong? sounding anxious.[/spoiler](http://www.dsboards.com/epimgs/0900-2.jpg)Julia, tight lipped, says, you just gave me a clue as to what you DO care about. Barnabas looks at her. "See how bad a detective I am," she retorts.
darling, we must not start off like this. He hugs her, adding that they have a brand-new life ahead of them, the past is gone, dead, gone forever. Yes, she says, blissful, they will be happy forever. He plants a big smooch on her and wishes they could leave here--he fears this place has too many memories for her. When I'm with you, I never think of them, she says.[/spoiler]
1841PT - No one must know, says Julia quietly. Everyone will, objects Flora. Not if we're clever, says Julia. First poor Stella, now this stranger! laments Flora. Shush, says Julia, someone is in the hall. What will we do? asks Flora. Julia opens the doors to checks, returns to Flora and says, we must get id of the body--now. The two women get down to the task.[/spoiler]
Today's quote and image are awesome. Classic.
Drawing room, Collinwood - Not that I know Evans well, says Roger, he has a reputation in town--I think you ought to be aware of it. Vicki, sitting in a chair, says all right, he drinks too much--what else? I don't think you understand, insists Roger, when Evans drinks, he gets ugly--he, how shall I say, is not the most pleasant person to be around. Then I'll have to take my chances, says Vicki. Don't you see, I'm trying to help you, says Roger--if you're anxious to meet an artist, why must it be Sam Evans?--there are three or four others in the vicinity. None of whose daughters have invited me to dinner, points out Vicki. I think something can be arranged, says Roger. But that's silly, says Vicki--I'm still a stranger here, and I've found someone friendly enough to invite me to her house--why should I turn her down and then go looking for someone else? Because I'd prefer it, says Roger--as long as you're a member of our household, any associations you make reflect on us. Then I won't tell anyone where I'm from, says Vicki. Don't be rude, says Roger, annoyed. Vicki rises and apologizes if she was rude--but I do think it's a little ridiculous--I mean it--all this fuss over a simple dinner invitation--unless there's some other reason you don't want me to meet Sam Evans.[/spoiler]
Woodard comes to the Old House wanting to examine Willie and take a sample of his blood.[/spoiler](http://www.dsboards.com/epimgs/0243-1.jpg)Mr. Loomis can't allow that, of course, and went into wild-eyed insistences that it was impossible. Even after Dave said he and Maggie could be suffering from the same serious blood disease, Willie refuses to cooperate.
Woods - Barnabas and Jeremiah stand back to back, discussing the Duel Rules. Ten paces, turn, count to three, fire. Jeremiah tells Barnabas he never lied to him, and this one lie made them strangers. Then it's a stranger he will kill, vows Barnabas, face stony. They count the paces (I don't think they made 10, the set wasn't large enough), turn, count to three--but only Barnabas fires.[/spoiler]
Gorgeous shot of the duel, MB. Their facial expressions pretty much tell the story, and doesn't Anthony George look fancy in his final episode?
She describes her terrifying dream, then tells him others have had it, and it goes one step further with each dreamer. It started with Maggie, then Jeff, and there's a terrible compulsion to tell the next person about the dream. Then it went to Dr. Lang, with whom it went one step further, and then Julia herself had the dream last night. Stokes finds this interesting.[/spoiler](http://www.dsboards.com/epimgs/0487-3.jpg)It makes sense to him--he's read of a Dream Curse. The objects of the curse are the instruments through which the curse was carried out. The curse usually ends in sudden death, which is what Julia feared he was going to say. He asks her to describe the dream to him, but she fears doing so, afraid he'll have it. She explains that Mrs. Johnson is next in line, and she feels she'll go mad if she doesn't tell her, but she wants to stop the dream. He asks if Mrs. Johnson is the object of the curse, and Julia says no, she thinks she knows who, but can't tell Mrs. Johnson. She's trying to save someone, suggests Stokes, someone she cares a great deal about. Julia admits this, her face going soft. I don't know if I can save him, she cries.
We like Collinwood, and Rachel, she's so nice, protests Nora. I like Rachel, too, says Edward, try to understand my reasons. She begins to cry, saying, if we are sent away, I'll just DIE! Edward, upset, assures her that after dinner, the three of us will sit down and I'll tell you about the school. No good, she says, because Jamison isn't here anymore, he ran away last night, saying Trask was cruel and mean to him and would rather die than go to the school. Edward is horrified--I thought you'd like the idea of the school! Nora clings to him and begs him to let them stay at Collinwood, please! I need to think and find Jamison, he tells her, run along and play.[/spoiler]
when you do leave, you will find yourself more successful than you've ever been. I don't want that again, insists Paul. You have no choice, says Barnabas. "I will not have it!" shouts Paul. You will do whether you want to or not, says Barnabas--you see, we do keep our bargains, that is why we expect you to keep your. I want my daughter back, free, says Paul. Not possible, says Barnabas. "I will make it possible!" screams Paul. There is no way to erase that night, says Barnabas. Paul reaches into a drawer and pulls out a gun. "But I can kill you, Mr. Collins," he says, pointing the gun at Barnabas. If I die, someone else will replace me, says Barnabas. They will get this, too! shouts Paul, who fires--but nothing happens.[/spoiler](http://www.dsboards.com/epimgs/0901-4.jpg)Put the gun down, advises Barnabas, laughing. It was loaded, cries Paul--you got to it somehow! Of course it was, says Barnabas, we think of everything, we must--we knew about the gun, as we know about your efforts to get Carolyn to leave here, another thing you will not do--we know everything you intend to do before you do it. Beaten, Paul turns away from him.
Someone knocks at the door. Trask, terrified, he doesn't want to open the door. What if it's Mr. Collins? she asks--you must open the door! Trask very reluctantly unbolts the door. It is Quentin, who, annoyed, asks, why was the door bolted? Something has happened since I heard the music in the room, says Alexis, with no one at the piano--do you know what it is--you must tell me. Close up the house, Trask begs Quentin, we have to leave, all of us! We aren't doing that, insists Quentin, so you should just relax.[/spoiler]
Barnabas enters and Gerard asks if he saw anyone on his way over here--Samantha thought she saw someone through the window, that's all. Barnabas congratulates him, but Gerard says congratulations are a bit premature, and he doesn't wish to discuss it any further. Of course, says Barnabas, and joins Gerard in the drawing room[/spoiler]
I know six Collins have gone to that room and spent the night--three were found dead in the morning, and three were found like Father--mad for the rest of their lives--I am realistic, too, about one thing--that either Quentin, Gabriel or I will be on that list. Do you think you or I can decide who will or will not be in the lottery? she asks--when your father dies, and you read that letter, it will tell us[/spoiler](http://www.dsboards.com/epimgs/1199-0.jpg)--until the lottery is over, you must have nothing to do with Catherine, do you understand? I can't! he says.
Joe says, according to Mrs. Johnson, Malloy came home about ten o'clock last night and had some supper. About 10:30, he received a phone call. Mrs. Johnson had to leave to visit her daughter, but Malloy was still there when she left. "What happened this morning?" asks Liz. Joe says Mrs. Johnson came back to the house, around 6:30 to fix his breakfast. He never came down, so she went upstairs to look. He wasn't there, and his bed appeared not to have been slept in. Liz rises from the sofa, rubbing her hands nervously together. "He must have left sometime between 10:30 and 11:00, she muses. Why does she says that?" Joe asks, and she describes how she tried to reach him several times after eleven, with no answer.[/spoiler](http://www.dsboards.com/epimgs/0048-2.jpg)She asks if Mrs. Johnson knew who phoned Malloy, and Joe says no, all she said was Malloy seemed very upset. "You don't suppose something really did happen to him, do you?" Joe asks. Liz says, "I don't know, Joe, I don't know."
Carolyn goes into the drawing room, and indeed finds her mother quite upset. As Liz speaks to her, she senses that her mother is about to make a confession, and she tells Liz that she'd rather not hear it if it's that upsetting to Liz. Liz insists it's necessary for her to free herself--but first she has a few things to reveal about Paul Stoddard--he loved no one but himself.[/spoiler](http://www.dsboards.com/epimgs/0244-3.jpg)This distresses Carolyn, who isn't sure she wants to hear more. Your father never loved or wanted you, Liz tells her daughter, who becomes terribly upset. Refusing to listen further, Carolyn runs from the room, slamming the door closed behind her.
Drawing room - Natalie and Abigail talk to Trask, who asks for evidence of witchcraft. Abigail gleefully regales him with all that has been happening, focusing on the mysterious disappearance of Joshua, who was turned into a cat, then transformed back. Of course, Abigail could see the devil possession in Miss Winters' eyes the day she arrived! Barnabas overhears what's happening and reluctantly shakes "Mr. Trask's" hand. It's absurd, he scoffs, Miss Winters is a fine young lady, no more a witch than he is![/spoiler]
Evans cottage - Stokes comes to see Maggie and gives her his card--he urgently needs to speak to her. She invites him to sit down. She's puzzled, wondering what this stranger wants. He heard about her terrifying dream from Julia Hoffman--she's had the same dream, as have a number of other people. He asks her to tell him everything she remembers about the dream, but she just wants to forget the horror of it. Force yourself--it's a matter of life and death, he explains--it's part of a dream curse, which is perpetrated by a series of dreams--the chain must be broken or someone will die. That's incredible, declares Maggie, but he says he's an expert in the occult, and he thinks he can stop the dream. He needs to know about her dream--she may be saving a human life. Standing over a lamp that makes her look very pretty, Maggie describes her dream to Stokes. She recites the riddle to him.[/spoiler](http://www.dsboards.com/epimgs/0488-3.jpg)
Beth comes downstairs hurriedly. She angrily tells Q, I hope you haven't cost me my job. I doubt it, says Q. Edward is furious with me, Beth reminds him. Edward's fury is like the common cold, remarks Quentin, a nuisance, but it always goes away. Beth says, I'm sorry we can't continue our conversation, I have to go to the village. She picks up her purse. Quentin stands idly by, whistling innocently. She turns and demands, give me the envelope that was in my purse! He feigns innocence, but she says I won't play games--give it to me or I will have Edward get it from you. Quentin takes the envelope from his pocket and comments, you carry some interesting items in your purse. She grabs the cash out of his hand. He assures her it's all there. You were going into the village last time I saw you with a large sum of money--what do you do with it? It's none of your business, I don't wish to discuss it further, says Beth coldly.[/spoiler]
Barnabas warns Woodard to be careful--the man who broke into his office had great strength, after all. Woodard refers to that man as a monster and remarks that Barnabas seems to feel sympathy for him.[/spoiler](http://www.dsboards.com/epimgs/0245-1.jpg)On the contrary, says Barnabas, "I loathe him very deeply."
Roger says he's disappointed in his son and David apologizes. Roger says it takes very little effort to be civil, even to someone he dislikes--and he should get to know her before he dislikes her (perhaps David is more intuitive than his father).[/spoiler](http://www.dsboards.com/epimgs/0489-2.jpg)He didn't say that, objects David, he doesn't know how to act in front of Cassandra. Roger's good humor returns. He understands. Give Cassandra a chance, and he will grow to love her as much as he does. David says yes, but doesn't sound like he means it, and Roger makes a face.
I have no doubt you have some reason for returning, he says, and if you'll be good enough to tell me what it is, I'll try to accommodate you, and then you will leave--I can't express my feelings more clearly than that. I want you to take me back, she says plaintively. You must be insane! he says. I know you have every right to hate me, but please don't, she begs--I know how wrong. . .Spare me your feelings, demands Edward, they mean nothing to me.[/spoiler](http://www.dsboards.com/epimgs/0730-3.jpg)Oh, Edward, I am so sorry, she says, but I can't help myself, I'm throwing myself on your mercy, do you think that easy for me? Yes, I do, he responds. (You do get the feeling this is all an act on Laura's part.) Please don't be cruel, she asks. I refuse to be taken in by all this, he says. I want only a second chance, on any terms you dictate, she says--please don't turn me away--I've been through so much suffering and misery, but I've learned from it, I swear!--all I want is a chance to prove it to you!
Barnabas says Julia now knows what it is he discovered years ago--there's no escape from the witch--Julia will have the dream until she's so scared she's forced to tell Mrs. Johnson.[/spoiler](http://www.dsboards.com/epimgs/0490-1.jpg)Julia insists she must tell Mrs. Johnson before she loses her mind. Barnabas wants them to do the experiment tonight. Find some way to get hold of yourself, urges Barnabas coldly. Julia wonders if Cassandra can somehow control the experiment, but Barn believes she knows nothing about it.
I had to go back and fulfill the rest of the contract. Rachel looks resigned, but angry. Tim thinks it was actually a good thing, but Rachel turns on him--how could you say that, Trask is a sadist! True, says Tim, but we were good for the children, and as long as I'm there. . .besides, I decided to take a new tack with Trask--I know he can't be persuaded to change his mind, but I'm trying to temper him, get him to be more tolerant with the children. I guess you aren't succeeding, she says bitterly. Tim insists I'm making some progress--Rachel, listen, he says, isn't it better to light even one candle than curse the darkness? He's taken all of the spirit out of you, she lashes out, all your will to fight back--"He's defeated you!" Tim coldly asks her to have the children to come down--I have work to do at the school.[/spoiler](http://www.dsboards.com/epimgs/0731-3.jpg)Venomously, she says, "Yes, of course, you must not linger here too long, you must be a good teacher, you must not do anything that might anger your headmaster!" She leaves him, furious. Tim just looks sad.
11:40 - Collinwood - Constable Ward asks Gabriel, did Randall speak with you earlier this evening? And my wife, Edith, yes, says Gabriel. What was the purpose of his visit? asks Jim. Merely paying a visit, seeing his sister, says Gabriel. So it was a social visit? asks Jim. Yes, agrees Gabriel. Your brother Quentin told me that you said he was on his way to the police, reveals the cop--Randall's reasons for going to the police must have been mentioned. Yes, says Gabriel--Randall thought the police weren't concerned enough about the animal attacks in the woods. So, says the constable, he was coming to see us at midnight to censure us? That was very much like Randall, yes, says Gabriel. And completely untrue! says the constable, he's been in town for quite a few days and we haven't heard from him--you're lying to protect your brother, aren't you? Quentin can protect himself! says Gabriel. Then why do you bother? asks Jim--I think I'll have a talk with Mr. Trask before I see you again--but I will see you again.[/spoiler]
I've only been concerned about what's best for you, Liz tells Carolyn, how I wish you could have gone away from here before all this started. It wouldn't have changed anything, insists Carolyn. For you it would have, says Liz[/spoiler](http://www.dsboards.com/epimgs/0064-4.jpg)--I know what you've been going through. Mother, says Carolyn, I've always liked Burke. Always? asks Liz, you've known him such a short time. I know, but...why did he have to do it? asks Carolyn--why did he have to say those horrible things about Uncle Roger? Because he's bitter and angry, says Liz. He always seems so...I don't know, so different, says Carolyn--how can you ever know anything about anybody? I've never learned the answer to that question, says Liz, smiling, I suppose you have to put faith in someone you love and hope they'll be honest with you. Yes, agrees Carolyn, if I could only talk to Burke and asks him how he could say these things. I suppose you should, if you feel you must, says Liz You wouldn't object? asks Carolyn. Would it make any difference if I did? asks Liz. No, I suppose not, says Carolyn.
Why can't you leave this room, why? asks Will. Can't you guess? asks Barnabas. I suppose I can, says Will, facing Barnabas again. They hear Maggie's voice outside calling to Will and Carolyn--is anybody home? "Maggie," whispers Barnabas to Will. Carolyn comes out to greet Maggie--how are you? asks the latter. All right, answers Carolyn--Barnabas mentioned to us that you were back--how's Quentin? He seems much better, says Maggie--I just took him to the hospital for tests, and he seems to be coming along fine--I can't understand what went wrong. You must feel very relieved, says Carolyn, and moves to stand in front of the secret bookcase. I do, says Maggie--I just wish I could stay at the hospital with him--I should apologize for coming by so late and just walking in like this, but I did want Barnabas to know that everything seems to be all right now--he's not here, is he? No, he isn't, says Carolyn. Perhaps you could give him the message, says Maggie--tell Will, too--I'll let you know the results of the tests. Inside the secret room, Barnabas listens to Maggie's voice. I would hate to think of what would have happened if Barnabas hadn't been there when Quentin had his attack, says Maggie--Liz told me how calm he was, took complete charge--it's difficult to believe he's a distant relative, but more like someone who had known us all our lives, and how strange that is. Barnabas listens, smiling a bit, liking what he's hearing. Carolyn agrees--it's strange. I should get back to Collinwood, says Maggie--Liz and the others will want to hear the news, too, and the doctor might call tonight--it's good seeing you, Carolyn, she adds, and leaves.[/spoiler](http://www.dsboards.com/epimgs/1017-3.jpg)Will says to Barnabas, "It's SHE you're hiding from, isn't it, yes, when I was writing the book, you mentioned, how much she reminded you, in the other time, of Josette?" That's enough, Will, orders Barnabas (notice that they're on a first name basis since Barnabas bit him). And this Maggie reminds you of that one, doesn't she? asks Will. Outside, a dog howls. Open the panel, commands Barnabas. WHAT? asks Will. I said open the panel! Barnabas repeats, clearly beset by blood lust. No, you don't want to leave here, says Will, you know you don't--you told me to stop you! Nothing can stop me now, says Barnabas. Will pulls out the cross and holds it in front of the vampire's face. Barnabas turns away. This is what you wanted me to do, Will reminds him.
Laura Murdoch Radcliffe, says the caretaker (I'm tired of typing that!), taking down another book--her other records, they must be here--her parents, her ancestry. Are you sure I can't do that for you? asks Frank, as he watches the caretaker searching the shelves--you can tell me where to look. Vicki looks through one of the volumes. Oh, no, says the caretaker, they wouldn't like it.[/spoiler]
...
He racked up his 8th with this one - and even more are probably still possible...
Julia outlines to Quentin how it's been since Barnabas got back--I think something happened to him in the past, something that forces him to act this way. Julia, says Q, I just lost the one woman I ever loved, finally found my portrait--I've SEEN myself. Quentin, she says, what you need is a new interest--the important thing is you're here, and the only one capable of doing what must be done. Sure, he says sarcastically, because my strength is the strength of 10 men, because my heart is pure--you and your unholy belief in the Collins family--well, here is one Collins that doesn't even have a name--just how is he going to explain himself--as Quentin Collins, born in the 19th century, once a ghost and tormentor of children? Quentin, there is a way, she says, if you'll help Barnabas. He puts a hand on her shoulder, his voice gentler. Julia, you have done many things for me, he says, and I appreciate it--do one more thing for me--LEAVE ME ALONE!-- just let me think about things--you don't worry--I won't go anywhere without telling you, I promise. He pours himself another drink.[/spoiler]
Drawing room, Collinwood - Vicki tells Liz she feels the Boston trip was good for David. Liz sadly informs Vicki that Burke's plane turned up--and all 16 passengers were found dead.[/spoiler](http://www.dsboards.com/epimgs/0364-3.jpg)Vicki refuses to accept the worst, even though all the bodies were burned beyond recognition (on any other soap, this would have left the door open for Burke's eventual return)
Q suggests they go. Barn agrees it's getting late--I'm going to show Quentin some rare family volumes at the Old House. The men depart. Laura sweetly wishes them good night. After they're gone, she exults that Jenny will want to know they went to the Old House. When do you want me to let her out of her cell? asks Dirk. Tonight, says Laura, as soon as I prepare her for what she must do.[/spoiler]
Uncomfortable, Joshua suggests he's incapable of loving anyone. It could be your salvation, says Barnabas--you can't love me, so you won't be a victim of the curse. (As if he isn't already a victim--he's lost his sister, daughter, wife and, for all intents and purposes, his son!) The curse must be ended, insists Joshua, and he'll do it. He can't allow this to go on any longer, anymore people to die.
Barnabas continues telling Julia that for his father, the agony of that terrible night had only begun--he still had to face the task of disposing of me. Joshua insists the curse must be ended. Barnabas tells him it cannot be ended, but Joshua says it will, and he will do it--I can't allow more people to die[/spoiler]
The West Wing, filled with cobwebs, old furniture and portraits - David, flashlight in hand, leads Amy through the West Wing. He shows her the portrait of Thaddeus Collins, alive during the Civil War. They pass a door and David tells her it's a storage room, perfect for exploring. They go in. The room is filled with even more cobwebs (plus a brass bed that will play a big role in future episodes of DS). Amy pronounces this room exciting, with lots of secrets. David says this room is supposed to be haunted. Do you think it is? asks Amy excitedly. No, says David--just a legend--nothing has ever happened to me in this room--another room, down the corridor, has a secret passageway. Amy remarks on how lucky he is, living here. She spots a 19th century telephone on the floor and picks it up.[/spoiler](http://www.dsboards.com/epimgs/0639-3.jpg)David suggests a game--the kind that first pops into your head. A pretend game? asks Amy. David suggests they pretend all the junk isn't there and it's the same as it was when the West Wing was first opened. And see the people who lived there, too, suggests Amy. If we can't see them, perhaps we could talk to them--on the phone they found!--we can pretend to talk to someone who lived in the past.
Ang finds Jeff in the woods and tells him she wants to try the experiment again. He demands she not touch him and wonders why she is that she can just disappear and reappear this way. She's not human, he says, holding his head--she's a demon! When I'm with you, I'm real, she says, reaching out for him--you must meet me tomorrow night. Jeff says he can't help her--he's free of the experiment now and doesn't have to go back to the lab. She is adamant--they will do this experiment so she can be the life force. He dodges her, but she says they won't fail--and she will answer all his questions when it's over. She holds out her hand and insists he take it; she says it feels human, doesn't it?[/spoiler](http://www.dsboards.com/epimgs/0582-2.jpg)You must not fight me, you must not! She bites his throat.
... she says it feels human, doesn't it? You must not fight me, you must not! She bites his throat.
Julia assures Barnabas Jeff did no harm. She can't believe he meant to destroy the body, but Barnabas is sure. ...
I don't believe a word of it! declares Catherine. I think you should at least find out what's going on in this house before you decide to come and live here, says Daphne. I don't intend to let anything upset my marriage plans, says Catherine--and I certainly won't go asking the family embarrassing questions about a locked roomDashing, handsome PT Quentin joins the ladies, curtly informing Catherine, I think you just made a wise decision. How long have you been standing there? asks Catherine. Long enough to be disturbed by what I heard, he says. I'm sorry, says Catherine. You should be, says Quentin--Catherine, Morgan wants to see you downstairs--something about wedding arrangements, I believe. Catherine excuses herself and leaves the room. I want to go with my sister, says Daphne. Stay right here, insists Quentin. It's all right, I'm not going to hurt her, Quentin assures Catherine. I've been gone for seven years, Daphne, says Quentin--do you know why? Yes, she says, you were convicted of manslaughter and have been in prison. That's right, he says--I got into a fight with a man and killed him--because he was spreading stories about my family--the same kind of stories Ezra Robinson is telling you--he was trying to make my family look like a pack of fools--I must admit I've never gotten along particularly well with my family, but it's the only family that I've got--and I don't like to hear stories or so-called legends about that--and I don't like to hear them slandered--do I make myself absolutely clear to you? You do, she assures him--I'm sorry for what happened. All right, he says, smiling, it's all forgotten
Josette's room - Kitty holds up a candelabra and speaks to the portrait--whatever link exists between us must be broken now--I'm going away, and not coming back, to live my own life, and you can't come with me--please, let me be myself, I've got to forget Josette duPres. She replaces the candelabra and hears Josette speaking to her, "Kitty Soames...it is Kitty Soames you must forget..." Barnabas enters the room--Kitty! He calls. Don't come near me, demands Kitty, I can't fight both of you. Then stop fighting and running away, urges Barnabas--that's why your bags were packed, you were running away? Yes, she admits.[/spoiler]
Carolyn waits in Adam's room, leafing through a book. The place is still a mess, but looks a little better. She seems very nervous about this meeting, but tells herself not to be. She's glad Adam has found someone.[/spoiler]
Give Carrie Gabriel's letter, instructs Morgan. Flora does so. Will this do? asks Morgan. I think so, she says. She opens the letter and gazes at it, concentrating, then seems to enter a trance.[/spoiler](http://www.dsboards.com/epimgs/1215-3.jpg)Anxiously, Morgan asks, do you see Gabriel. Carrie murmurs, "Trees...forest..." Where? asks Morgan--near here?--can you tell that? A stream, leading to the sea, says Carrie--trees are not tall, they are young; over the stream is a bridge, a rope bridge big enough for one. Where is the bridge? asks Morgan. It's so dim, I can hardly see it, she says--he stands there, staring at it... Carrie, close to unconsciousness, comes out of the trance. Flora is concerned for the girl's well-being. Morgan, however, immediately asks Carrie, do you remember everything you said to us? I think so, she says. There's no rope bridge around here, points out Flora. Wait a moment, says Gabriel, and leaves them. I'm sorry for not helping you, says Carrie. It's not your fault, Flora assures her. Perhaps if Mr. Stiles were here...suggests Carrie. Morgan returns with a small painting in his hands--this picture hung on the wall under the stairs, Mother, he says--the bridge over Biddleford Creek. That's not far, says Carrie. This is a rope bridge, says Morgan. That was painted before I was born, says Flora, sometime in the last century--there's a stone bridge there now, you know that. But this was there, Morgan insists, holding up the painting--is this the bridge, Carrie? Yes it is, she replies. I'm going there, insists Morgan. Flora protests. I don't understand anything she's saying, says Morgan, but if she thinks Gabriel might be there, I'm going to go find him, whether you approve of it or not. He starts to go. No, says Carrie, Gabriel isn't there now--you must wait--Gabriel will find you--I don't know why I say that, but I know it's true. She gazes at the letter again.
Carrie Stokes isn't one of my favorite characters but that screen cap of her in today's slideshow is absolutely gorgeous. Right down to the bonnet!
What happened next? asks Patterson. I screamed, she says, and I heard the footsteps turn and run away--then Roger came in. What did he say to you? asks Patterson. When I told him what happened, says Vicki, turning to look at Garner again, he said that I was crazy--that no one would want to get into my room and I must have imagined the whole thing. Isn't it possible that you dreamed it all? asks Garner. No, it's not possible! cries Vicki, upset, someone tried to get into my room, I know that--and someone also tried to run me down on the road to Collinsport, I know that, too! All right, says Patterson, please try to calm down--Mr. Garner, I have warned you about interrupting for the last time! All right, says Garner.[/spoiler]
Quentin, Daphne and Gerard enter the bedroom. Quentin rushes to his father's side. You, you, you're not who you say, you're not the man you were, gasps Daniel. (How ironic, considering GERARD is the one who has changed--to another person!) Edith tries to force Quentin to leave. Get away, says Quentin. Edith tells Daphne and Gabriel, Daniel is too ill for company. Gerard leads Daphne out of the room. Why what? Quentin asks Daniel, who mutters, "It will ruin us all--I must stop it, I will stop it!" You want Daniel to die, accuses Edith. Get out of here, Daniel orders her. But Father Collins, she protests. Leave this room! he cries. Get out! shouts Quentin. Edith takes the hint and goes. I saw your stairway, says Daniel--I saw the past--you killed Lorna! No I didn't, says Quentin. Daniel passes out.[/spoiler]
what was the relationship of Mrs. Stoddard to Mrs. Collins? It wasn't a very good one, obviously, says Carolyn. Was there anything else significant about her state of mind? asks Guthrie. Yes, says Vicki, she acted as if she'd forgotten something--that she'd done something or gone somewhere. In other words, an unexplained lapse of time, says the doctor. Exactly, agrees Vicki--she had the feeling that she'd gone out of the house and come back from wherever she'd been. My mother seldom left the house and never the property, explains Carolyn as Guthrie writes in his notebook. She must have had a memory block, then, he says. I guess so, says Carolyn, she said she went out the front door, then came in--a short time after that, she collapsed--what does it mean? On the surface, he explains, it could mean a very common occurrence--a reaction to trauma--I'm suggesting she had an emotional experience of such intensity--something shocking or frightening--that gave her nervous system a delayed reaction--just as when you step off the curb in front of an oncoming automobile, and the car narrowly misses you, you jump back, then continue to cross the street--when you get to the other side, you start to shake. What sort of an experience could she have had? asks Vicki. I don't know, he admits, whatever it was--he looks at Liz--it was deep enough to block it right out of her mind.[/spoiler]
David comes downstairs. We hear the carousel music. Yes, he says to the air, yes. He opens the front door and goes out. "Are you going to punish me, Gerard?" he asks. "I know. . .I know, I must follow." And he walks away.[/spoiler]
Julia will be sorry for not heeding his warning about her jealousy, Barnabas says--he'll permanently dispose of Dr. Hoffman. While she seemed pleased at this prospect in the previous show, Carolyn is upset to hear this--killing Julia would be wrong! No, because she's obstructing his plans for Vicki, Barnabas says. Carolyn suggests Barnabas talk to Julia, scare her off, but Barn says Julia, while professional and sensible, is nevertheless as emotionally as foolish as most women. (ooh, nasty!)[/spoiler](http://www.dsboards.com/epimgs/0355-1.jpg)He wants Carolyn's help, he says, but Carolyn insists she can't. Be sensible, Barnabas orders his cousin, you have no choice.
Angelique sits before the fire on the drawing room. Roger enters. How long have you been standing and staring at me? she asks--I could actually feel you staring, do you believe that? Then you must have the same sixth sense Angelique had, he says, it was uncanny. She smiles-- why were you looking at me? she asks. That's the cross you must bear for looking so much like her, says Roger, smiling gently. At least people no longer think I AM Angelique, she says, I found that terribly disturbing. I never doubted you for a moment, he says. Oh? She asks. I don't mean any offense, he assures her, but Angelique was one of a kind.[/spoiler]
"Why did you have to come here?" demands Barnabas of a hysterical Millicent, clutching her tightly. No! she cries, and sees the coffin. She thinks he's going to kill her, that the coffin is hers. She pulls away from him, screaming for Nathan. He grips her again, warning her that she must not tell anyone she saw him there, but she is too far gone to be rational--I must tell! She wails--you must let go of me, Nathan will kill you when he hears of this! He asks her to promise not to tell anyone, but she says she can't, pulling out of his grasp again.[/spoiler](http://www.dsboards.com/epimgs/0449-4.jpg)She sees his face, his fangs, as he says, harshly, "Then, my dear Millicent, you give me no choice!"--and he bites into her throat (and gets a good mouthful of blonde curls) as she screams uncontrollably.
She lies on her bed, falls asleep, then begins to dream. The double doors at Collinwood open; Jeb comes out, dressed in a suit. Carolyn, on the dark landing, drifts downstairs in a lovely wedding gown and veil, holding a bouquet. Everything is ready, says Jeb. In a moment, I'll be Mrs. Jeb Hawkes, she whispers. Come with me, says Jeb, offering his arm. She takes it and they go into the drawing room. Nicholas Blair, wearing his black robe, holding the scepter, awaits them. Carolyn, disturbed, asks--what is he doing here? He's going to perform the ceremony, says Jeb. I don't want him to, insists Carolyn--he frightens me. No one is going to harm you, Jeb assures her--Nicholas won't. Good evening, greets Nicholas. Hello, says Carolyn. Nicholas compliments her beauty and says, if you are both ready, we can begin. We can't, says Carolyn, my parents aren't here, and we can't begin without them. Your mother doesn't approve of the marriage, says Jeb, and won't be here. My father will--we must wait for him, says Carolyn. You know your father is dead, Jeb reminds her. No! I can't believe that, cries Carolyn. Believe it, because it's true, says Jeb--do you understand? Yes, she replies. Begin the ceremony, says Jeb--you and I will be together very soon. She smiles and agrees--very soon. Nicholas raises the scepter and intones--Prince of Darkness, I call upon the flame to summon you, beseeching all the dark creatures of nature to help summon you, for you must be a witness to this ceremony, give your blessing to these two creatures who shall become your obedient servants. What is he saying? she asks--I've never heard a marriage ceremony like this! Be silent, says Jeb. Nicholas continues--I summon you in the name of the seven plagues, in the name of the charred and blackened stars that reigned at my beginning to rise out of the darkness of the earth. Carolyn grips Jeb's hand and says, I can't go through with it--I'm too frightened. Let him finish, says Jeb. Thunder and lightning fill the room; the lights go out. Only burning candles remain. Carolyn, terrified, asks what's happening. I don't know, says Jeb.[/spoiler]
She opens her purse--the keys are there! She also finds the diamond and emerald earrings. Josette's music begins to play. Joe swears he didn't give her the earrings; he couldn't have afforded them. Sam couldn't, either--how did they get into her purse? Joe suggests she ask Sam, and if he didn't give them to her, turn them over to the police--she'll get them back if no one claims them. Maggie admires them in the light and says the woman who wore them must be beautiful. All you need is money, remarks Joe, but Maggie says she thinks of someone lovely, elegant and--sad owned them. Joe says she has sentiment and imagination, but she says they remind her of something she's forgotten. Joe tells her to put them safely away so they can go out, but Maggie feels compelled to put them on.[/spoiler]
Worthington Hall, schoolroom - Tim asks Jamison why he handed in a blank sheet of paper instead of doing his spelling and math tests--I know you knew the work!--if Trask knew about this--I'm not sure I'll tell him or not. Tell him, begs Jamison--I won't learn from him because I hate him--I want to go back to Rachel. Tim takes off his glasses and notes, you miss Rachel. Not as much as Nora does, says Jamison, but some. Tim understands--she must have been very happy at Collinwood. Trask enters and asks "Collins" why he's being kept after class. Jamison is silent. Trask warns him, I give my boys one chance only, and you'll have to learn it--what did he do wrong? he asks Tim, who crumples up Jamison's paper. Nothing, says the latter, we were just talking. Trask orders Jamison to go to his room and study.[/spoiler]
Julia got the story about Vicki from Liz. Barnabas can't bear to contemplate life without Vicki. Julia touches him arm, telling him she's sorry. Barnabas wonders why Jeff had to come and take her away-- why?--WHY? It was Vicki's choice to make, says Julia. Barnabas doesn't want to hear that. Julia tells him she's spoken with Vicki since Jeff's disappearance, and the young woman was willing to sacrifice her life to be with him. This enrages Barnabas. Julia says he must accept this for his own peace of mind. Barnabas spits out that he'll accept she's gone and he'll never see Vicki again--but I blame Jeff for interfering in the first place! I can't force you to see what you should see, sighs Julia.[/spoiler]
One of the most fascinating places to me was Norway, Burke relates to Vicki, who is now sitting on the sofa--those men are sailors--reminded me of my dad--he would have loved it there. Fascinated, Vicki asks if he loved the sea that much. Crazy about it, says Burke, but he never got much chance at it--he was, well, not too healthy, so he had to settle for being a landlubber. You must have a lot of the sailor in you, don't you? asks Vicki, smiling. I don't know, says Burke, what I am--when I was old enough to think of what I wanted to be when I grew up--nothing. He sits beside her. When I was little, I wanted to be bareback ride in the circus, says Vicki--all beautiful and dressed in spangles and riding the most magnificent big white horse you ever saw. Did you ever try? he asks. I was in that foundling home, how could I? she asks. You could have run away, he says. I'm not that type, she says. I wish you were--I mean from here, he says--I wish you'd pack your bags and run away as far as you can. To what? she asks--the circus and a big white horse? Maybe, he says, maybe even to Norway--anywhere but this dungeon--you don't belong with ghosts, but with the world, with laughter and smiles, and everything the world can give you.[/spoiler]
Cottage - Chris, having written a letter to Carolyn, slips it into an envelope and leaves it on the mantel above the fireplace. He takes the gun into his hand. Hearing a woman sobbing, he demands, who's in this room? It's crazy Jenny, hair a total mess. You must not do it, she insists. What are you talking about? asks Chris. You must not die while there is hope, she says.[/spoiler]
I'm not afraid, she assures him--darkness is comforting--and you must find comfort, too, without me. I don't want anything without you, he insists. Bramwell, she says, you say that now--but in time, you will want Catherine. He looks down. You see, she says, I can say it--you will want Catherine[/spoiler](http://www.dsboards.com/epimgs/1238-4a.jpg)--and she will want you--Bramwell, you have my blessing. She turns her head, trying to breathe, and says, you're the two people in the world I love most--and must comfort each other.
Angelique, what's wrong? Nothing, she says--I want to speak to Quentin alone. Quentin turns to Edward and say, "You know how we must humor her." Edward agrees and leaves the room. Angelique looks very distracted. Quentin asks, where have you been? I went for a long walk--to think, she says[/spoiler](http://www.dsboards.com/epimgs/0860-3.jpg)--I'm not going to marry you tomorrow, she says, and you yourself can easily see why not. No, says Quentin curtly, I don't! (why does Petofi want to marry her--for the sex or control, possibly over her powers?--as IF!) Nonsense, she says, you never wanted to marry me, I forced it all, and now I'm afraid. That's another human emotion I didn't know you had, he accuses. She looks at him, startled.
At the cemetery, Cassangelique stands at Sam Evans' grave ( 1915-1968 ). She summons Sam's spirit and orders him to rise and appear to her. He does (in a trenchcoat and dark glasses, was he buried in those things?), and asks why she has disturbed his rest. The witch tells him that she has a job for him to do. I know what you are, Sam's ghost says.[/spoiler]
You told me you hadn't seen Bill since late yesterday afternoon, Liz reminds him--but he was here last night, arguing with you, shortly before he disappeared. Roger puts his milk and sandwich on the table and stands. He asks his sister if she's suggesting that... who told you I was arguing with Bill--Miss Winters? He pours a drink. Yes, says Liz. Did she tell you what we were arguing about? asks Roger. No, there was some mention of a meeting, says Liz. And that's all she heard? Asks Roger, draining his glass. I want to know why Bill was here and exactly what you were arguing about, says Liz. Roger turns to her and says it was a business matter. Something to do with Burke Devlin? asks Liz. Of course not! says Roger--you must know Bill and I have had differences about a number of things at the cannery. Skeptical, Liz says, "Go on." Well, says Roger, there are matters relating to some of our accounts that he felt I hadn't handled properly--we had words about it and he insisted I meet him in the office and we go over the billing--and that's about it. What accounts are they? asks Liz. What difference does it make? asks Roger, annoyed, when he comes back we'll all sit down and discuss it--right now I'm tired, it was a long trip and I want to replace. He finishes off his drink.[/spoiler]
Liz asks Laura what's the matter--is something wrong? Recovering, Laura rises from the fireplace seat. I was startled, she tells Liz. My fault, says the latter, for coming up in back of you so quietly--you must have been very deep in thought. My mind was somewhere else, admits Laura, that often happens to me when I'm staring into a fire, I shouldn't have become so deeply involved. That expression on your face, says Liz--I've never seen anything like it before. I apologize, says Laura, I don't think I knew what was happening, or where I was--was it very ugly? Yes, says Liz--not really, maybe it was just surprise--I don't know how to describe it to you. If it wasn't complimentary, don't bother to try, says Laura with a touch of humor. It was far from complimentary, says Liz, disturbed, as Laura walks back to the fire, it was frightening. The women look at each other.[/spoiler]
In the study, Vicki and Carolyn discuss Maggie's disappearance again, and agree they're both frightened.[/spoiler]
Barnabas and Nathan come in and ask Natalie to describe Trask's interrogation of Miss Winters. Natalie explains exactly what happened, and how Vicki refused to cooperate with Trask. Nathan and Barnabas agree that, for her safely, Vicki must leave the house, but Natalie informs them it's too late--Trask forcibly took her away! She regrets allowing it, she confesses, and tells them how Trask hopes to prove by morning that Vicki is a witch. Natalie accepts blame for what happened and asks them to look for Vicki--she fears Trask is torturing the girl. Nathan and Barn resolve to search for Vicki, but Barnabas first tells Natalie that she and Abigail should be ashamed of themselves.[/spoiler]
Adam gazes back and forth at them as Barn explains that Adam can't talk, or move properly--what if he's some kind of monster?[/spoiler](http://www.dsboards.com/epimgs/0491-1.jpg)Julia reminds him they took that chance. Adam stands and tries to walk. Julia thinks he understands them, and showed them he could walk. Barnabas asks Adam if he can understand them--do you know what we're saying? Adam smiles a bit, staring at Barn's mouth, and Julia advises him to move away from Adam--it will show if he trusts them. Barnabas walks away and Adam gazes at him, but doesn't move. Then, balancing himself like a toddler taking his few steps, Adam walks to Daddy, knocking over a stool. That's exactly the way a child learns to walk, says Julia, shaking her shiny bracelet in front of him. He takes it, smiling, and listens happily to it jingle. Barn tells Julia to check Lang's books, but Julia insists she didn't miss THIS possibility--he's alive, Julia says, and we are responsible for him. We can't stay here constantly, Barnabas objects, but Julia reminds him harshly that he knew this experiment could have any result, and what has happened is something they didn't consider.
David and Amy walk up a flight of stairs into the West Wing. David leads the way, commenting that he thought he heard something. A large old grandfather clock suddenly falls in front of them, scaring them spitless. She must have done that, says David--whoever she is, she wants us to go back! Maybe we should, suggests a frightened Amy. David insists they go on, and she asks him to take her hand. He does.[/spoiler]
Laura, in Collinwood's drawing room, walks, thinking. Rachel enters and introduces herself--I've been looking forward to meeting you, she says, but sorry about the circumstances. Laura is under the impression the children are upstairs. Rachel informs her they aren't--they were sent to Trask's school an hour ago, and you must get them out of there. "EDWARD!" calls Laura--if he thinks he can take my children away from me. . .[/spoiler]
I won't do anything without being told why, insists Liz. You must take Carolyn on a cruise around the world, without saying anything to anyone, says Paul--lawyers, Roger--no one must know! Liz bursts into laughter--I almost took you seriously, she says, but as usual, you went too far--go around the world secretly?--you've lost your mind. She starts to leave; he begs, don't go. Then tell me what this is all about, she says.[/spoiler]
Barely controlling his anger, Yaeger tells Quentin, you're a persistent man, and obviously a dedicated friend of Cyrus'--he must appreciate it a great deal. What's your connection to Cyrus? Asks Quentin. We've only known each other a short time, reveals Yaeger. Where and how? demands Quentin. Ask HIM that, says Yaeger. I'll have to see him first, won't I? challenges Quentin. You will, when he gets back to town, says Yaeger. He hasn't left town and you know it, accuses Quentin. Yaeger chuckles and says I don't like a man who raises his voice to me--MR. Collins.[/spoiler]
Unless something is done very soon, warns Barnabas, there will be a catastrophe right here at Collinwood. What are you talking about? asks Liz. After we left the West Wing room, says Barn, we came down to the foyer and found the house in ruins-the beams had collapsed, the floors were covered with leaves, no power at all-the house was in a complete shambles. Julia adds, we couldn't imagine what had happened, the entire place was deserted--we went to the cemetery and saw Mrs. Johnson, who was putting flowers on David's grave. This horrifies Liz. Yes, says Barnabas, according to the tombstone, David had died in 1970. You must have imagined it! insists a stricken Liz. You must listen, says Barn, as don't have much time to prevent what's going to happen. Time for what? asks Quentin. The disaster is due to happen very shortly, says Barnabas. Exactly what do you think is going to happen? asks Quentin. I wish I knew, says Barn-Julia and I found everyone completely changed in the future, everyone either unable or unwilling to tell what caused the catastrophe.[/spoiler]
At a tavern, over tea, Desmond is telling Daphne it makes no difference that her carriage started working. I thought the driver stopped because he said he had to work on it, she says, I must have misunderstood him. I'm glad you did, says Desmond, I wish you'd let me persuade you not to leave Collinsport. She says he might regret it if she stays. Never, he says. You sound positive, she says. I am, he assures her, I have a good feeling about you.[/spoiler]
that man's name is Trask--she opens a wallet she found on the body. It must be one of the Trasks that owns the bakery, says Flora (a real cream puff Trask, eh?), taking the wallet--we must destroy this--she looks through it, sees Lamar Trask, and says I know no Lamar Trask. I don't understand it, says Julia--look at his business card (did they have those back then?)--it says he's an undertaker with a chapel on Front Street. There is no funeral chapel there, says Flora. Perhaps he had just come to town, suggests Julia, perhaps he was planning on starting one.[/spoiler]
I've never seen you so gloomy, she says. I've never had as much to be gloomy about before, he says. Is it money? she asks. No, he says. What then? she asks. I told you--Bill Malloy--this man made an appointment with me and never showed up, says Sam--I went to the meeting, even though I didn't want to--went to meet him--he just never appeared--he pours a drink. Where was this? asks Maggie. At his office, says Sam, almost saying Roger's office--something must have happened to keep him from meeting me. He drinks. Are you afraid for yourself? she asks. No, he says, nothing could hurt me worse than what I've done to myself[/spoiler]
[/spoiler](http://www.dsboards.com/epimgs/0246-3.jpg)Roger comes in and tells the disbelieving pair that it looks like Liz is getting a divorce--so she can marry Jason! Carolyn is certain Jason is holding something over her mother, probably having to do with that mysterious basement room, so she determines to get the key or break in, if she must, and get to the truth. If she exposes what's in that room, she's sure it will loosen Jason's hold over her mother. Roger tells her the key is on a chain around Liz' neck
Collinwood drawing room - A hungry Vicki devours the food Nathan brought her. He tells her Angelique saw him with the food, but Vicki is sure she won't say anything. She thanks him and expresses a hope he isn't endangering himself by helping her. Then, foolishly, she begins to talk about getting back to her own world, her own time. Nathan warns her that talk like that will begin to make even her friends doubt her. She apologizes--does Nathan think her a witch? No, but he does think her strange. He likes her and wants to help her, he assures Vicki.[/spoiler]
Adam struggles to get out, but Barnabas and Julia push the door closed on him, then Barnabas locks him in. Adam, infuriated, continues to destroy the lab. Barnabas tells Julia they must kill Adam before he kills them[/spoiler]
Quentin returns to the house, where Judith sharply calls his name. "Oui, mon capitaine," he says humorously--how can I help you--black your boots, polish your brass? Judith, not amued, warns him to keep away from Laura. I was in her room on family business, after some letters I wrote her that Laura will use to blackmail Edward, says Quentin--I assure you that you don't want to know the content of the letters. Judith says, I can't see you as reputation of the family rep--or David--Edward's honor, considering you and your elder brother don't "admire" each other. You're too ladylike, complains Quentin, you mean Edward and I hate each other's guts. You really do, observes Judith. Yes, agrees Quentin--I hate Edward, but, dear sister, I hate Laura even more...[/spoiler]
I didn't know you were that interested in Tate, says Julia. Oh, yes, says Olivia. A very ambitious project, having a showing of his paintings, says Julia. All I have to do is the preliminary scouting, says Olivia, I have a dear friend in NY who owns a gallery--he does the real work.[/spoiler](http://www.dsboards.com/epimgs/0903-2.jpg)Strange project for someone like you, says Julia. Not really, says Olivia, he painted a portrait of my grandmother--I'd like to see him rediscovered, for her sake--I was very devoted to my grandmother, a fascinating woman
For the last time, says Cyrus, I went to Portland with my colleagues, we performed an experiment, and I got back early because the experiment failed. She apologizes. Sometimes, failure can be rewarding in it's own way, he says--something quite exciting happened, and I must follow up on it very soon--I can't discuss it until the work is more complete.[/spoiler]
Carolyn stops, hearing the spooky sci fi sound, and the wind--we aren't the only ones in this room-there's someone else here, watching us-I can feel it. Hallie runs to David--"I was right!" she cries-"Carolyn can feel it, too!" David, angry, orders them, just cut it out! Hallie runs to Carolyn's arms, proclaiming herself scared. You mustn't be, says Carolyn, putting her arms around Hallie,[/spoiler](http://www.dsboards.com/epimgs/1072-2.jpg)I'll protect you both-I won't let them harm you. The camera pans backward, showing the frightened females and deliberately stoic David.
Desmond awakens from his terrifying dream with a start.
At Rose Cottage, a window blows in the wind from the storm. Desmond, looking ragged, closes it. He goes over to look at the head, staring down at it. Can the legends me true? he wonders, smiling, and walks away. The head's eyes are open, staring at Desmond, who now has his back to it. When he turns to look again, the eyes are closed. Desmond sits down on a love seat and opens the book Ben gave him, but seems too tired to read it. He sinks back and falls into a nightmare-plagued asleep, in which the head speaks to him--"Help me! You will help me!"[/spoiler]
... Can the legends me true? he wonders, smiling, and walks away. The head's eyes are open, staring at Desmond, who now has his back to it. When he turns to look again, the eyes are closed. Desmond sits down on a love seat and opens the book ...
Melanie sits with her father. I can tell you're feeling better, she says--would you like me to read more to you? He shakes his head. The storm, she says--tomorrow, it will be a lovely day, Papa. She gazes out the window, opens it, and spots the apparition of the woman in white. What? asks Justin, sensing her fear. It was nothing she says, the lightning, so close it frightened me. The...woman...in...white! he struggles to mutter. No, it wasn't, she lies. He struggles out of bed, despite her insistence the doctor told him not to. I've got to see! he insists, stumbling across the floor. Melanie tries to make him get into bed, but he looks out the window, and says, she is here--she has come for me.[/spoiler](http://www.dsboards.com/epimgs/1200-1.jpg)You didn't see her, says Melanie, it was an illusion, that all. Once before, when father died, I saw her standing there, says Justin, I'm not ready to die, I won't! You have to live, you have to! cries Melanie.
Let's see if I have this straight now, says Patterson, writing in his book. He's sitting on the sofa. Matthew is still standing. It was shortly after midnight when you found the deceased--and how long after that did you flip the body back into the water? Right away, says Matthew. You must have taken a little time, says Patterson, you said you looked him over carefully. Five or 10 minutes, says Matthew. He was back here in less than half an hour, chimes in Liz, he walked up the shore and back. What for? asks Patterson. No, I didn't, corrects Matthew--I didn't walk anywhere--I stood there and studied the matter, trying to decide what to do--it was a good 20 minutes--[/spoiler]
Magda asks Rachel, can you trust Tim? There was a time I trusted him over anyone I've ever known, says Rachel, but he seems changed--what should I do? Your decision, says Magda. He wouldn't have offered money if he didn't mean to help me escape, decides Rachel--tell Tim yes. "You're sure?" asks Magda, skeptical. For over a year, we met everyday, making plans to escape, says Rachel, nobody could change that much--somewhere deep inside him, he decided he must work and wait for his chance to escape--he won't betray me--tell him, Magda![/spoiler]
She claims to fear the Almighty and assures him she knows nothing of sorcery. The devil has never tempted her because she has such a strong loyalty to her (?) God. Angelique drops to her knees, clasps her hands together, and claims she wants to be a child of religion. Suddenly, she has a vision, which she claims is thanks to Reverend Trask's influence. Joshua enters while Ang is having her spiritual revelation--she hears voices, a man and a woman. They are in a big, new house, and no one is there. Joshua recognizes the description as Collinwood, the house being built, and Trask immediately wants to hasten there and find the witch! Angelique, still kneeling, grins.[/spoiler](http://www.dsboards.com/epimgs/0387-3.jpg)
Barnabas and Willie have found Adam in the woods. Barnabas offers him his hand. "You know I'd never hurt you," says Barnabas--I want to take you home. Willie says they need help, but Barn says that's impossible. Gently, Barnabas tells Adam to come home with him, there's nothing to be afraid of. Adam is nervous, afraid. He very reluctantly accepts Barnabas' hand gazing happily at "Daddy", and they walk off, leaving Willie staring unhappily after them.[/spoiler]
She shows Nora the urn. The little girl is disappointed--oh, it's just an urn. Yes, agrees Laura. Why did you hide it? asks Nora. It's a secret, says Laura. I like secrets, says Nora. Go home to bed, says Laura--I'll come and tell you a wonderful story about the urn. Nora wants her mother to come back to the house with her.[/spoiler](http://www.dsboards.com/epimgs/0736-3.jpg)I want to stay here a while, says Laura--I can't explain why, but it's necessary and I will see you later. Nora promises to wait for her.
You're a very strong-willed young woman, he says, very well--he sits her down--you're going to know sooner or later, I might as well tell you now. Tell me what? she asks. He sits beside her and tells her about the legendary locked room and the family lottery. Do you mean that the stories and rumors in the village are true? she asks. Yes, I'm afraid they are, he says--there is such a room, and once during each generation, someone is chosen by lottery to spend the night in that room. What's in the room? she asks. I don't know, he says, no one has ever known. What about the people who've spent the night there? she asks. No one has ever lived to talk about it, he explains--those who spent the night there have either died or gone mad. Do you mean what happened to Joshua Collins (blooper, should be Justin) was not the result of an accident? she asks. That's right, he says--something happened in that room to my father that was so terrifying he was unable to think of it for the rest of his life. You must not hold this lottery, she insists. We must go through with it, he says. I tell you, I will not lose you this way! she says--it's primitive, I don't even see how you can take it seriously. Of course you would think it strange, he says, I can understand that--and I can also understand if you have second thoughts about marrying into this family. Second thoughts? she asks--I am more determined than ever to marry you now--[/spoiler]
Liz bursts in--she saw a mute giant on the path halfway to the Old House--and he said Barnabas' name. Barnabas pretends surprise. She mentions the shackle around his ankle with a broken chain--David!--they must find him. Roger leaves to get his gun, and Barnabas asks if that's necessary. Liz says, "If Barnabas knows him. . ." "ELIZABETH!" bursts out Barnabas. She doesn't understand why the man said her cousin's name, and Barnabas says they'll have to find out. Liz tells them both to be careful and Roger advises them to close and lock all doors in case the man shows up there. Liz closes the door on them, worried.[/spoiler]
Laura's room - Quentin helps Laura inside and into bed. Nervous, he keeps licking his lips. He turns on the lamp. Laura lies there, pale, breathing heavily. She gazes at him. Rest, he urges-- the doctor will be here soon. He leans in close. "How do you feel now, too weak to talk?" he asks--what's happened to you? You already know, she says--you're much too concerned. Of course, he says, grinning, we wouldn't want anything to happen to you now. I don't know how it was possible, says Laura, but you did this to me--it couldn't have been anyone else. I don't know what you're talking about, says Q. "You're trying to kill me," she accuses. Oh, he says, now that is a very strong accusation--tell me, he says, touching her, do you have any way of proving that? I'll find a way, she assures him--you'll pay for this. I don't think you have that much time left, says Q. He's right beside her, very close, almost in bed with her.[/spoiler](http://www.dsboards.com/epimgs/0737-2.jpg)She raises her head and orders him to get out. He suggests she doesn't exert herself--you don't have energy to spare, do you?--ohhh, now don't look at me that way, it almost compels me to feel sorry for you. I wouldn't want your pity, she says. And you wouldn't get it, he retorts--and for a very good reason--I recall an incident at the cottage the other evening--we both thought that I was dying. . .I asked you to help me, and you refused, you left me there to die--now I do believe that one bad turn does deserve another? He moves to kiss her mouth; she turns away. He grabs her face and forces a kiss on her mouth. "Why, your lips are ice cold," he says viciously--"Goodbye, Laura." And after a last caress of her face and shoulder, Quentin leaves his former lover alone, presumably to die.
Cassandra apologizes to Roger for not being there--she thinks he shouldn't be allowed to play alone in the woods, but Roger says David never listens. Roger said Liz told him she ran into the man in the woods, and Roger, gun in hand, went with Barnabas. Thanks to Barn, says Roger, he had some influence over the strange man. The man was holding David in his arms and Barnabas warned Roger not to shoot. He spoke gently to the man, who was affected by what Barnabas said, listened to him, and put David down. The man started to growl and came toward David--and Roger shot at him. The man didn't say anything to any of them--except to Liz, to whom he said "Barnabas." Liz said he kept repeating it. Could Barn and this man know each other? asks Cassandra.[/spoiler](http://www.dsboards.com/epimgs/0496-1.jpg)Roger says a cultured, well-bred man like Barnabas could never be acquainted with this man of lower class--mean-tempered, grotesque, downright unnatural. (snob, Roger--wonder what you would have thought of Ben Stokes?) If Roger hadn't seen him moving around, making those grunting sounds, he would have easily imagined he was dead. A walking dead man? asks Cassandra (much like my first husband?). Absurd, says Roger. Fascinating, she suggests, he must ask Barnabas about this strange creature. Cassandra looks happy to hear this potential trouble in Barnabas' life.
Old House - Bramwell sits brooding by the fire, silent. You haven't asked me, says Josette, but I must say it--you must forget Catherine. If I only could, he sighs. But you must, she says--perhaps your life won't ever be what you want it to be, that's one of the things we learn--we can do without the things we most dearly desire. Well if you made that adjustment, says Bramwell, I haven't, and I cannot. But you'll have to, she insists.[/spoiler]
We're turning down your offer, says Ezra, sticking to our old jobs. Why? asks Burke. Because that's what we want, says Ezra. Name your price, insists Burke, I mean it. We haven't got a price, says Ezra. Then you're the first men I've met who don't. Could be, the other man says, but that's how it is. Are you staying with Elizabeth Stoddard out of some misguided sense of loyalty? Not misguided, says Ezra. What is Mrs. Stoddard to you, a patron saint? Demands Burke, truly pissed off. No, says Ezra passionately, just a woman who's fed us and provided for us most of our lives!--we figure we owe her something in return--we're not stupid, at least not as stupid as you must think. What's that supposed to mean? asks Burke. We know what you're trying to do to Mrs. Stoddard, says Ezra--we know you're trying to run her out of business. What's wrong with a little honest competition? Asks Burke. Nothing, says Ezra, but we don't want to be a part of what you're trying to do! Do you have any idea what you're throwing away? asks Burke. Yup, says Ezra, more money than any of us will ever see. And that doesn't matter to you? asks Burke. It matters, but not enough, replies Ezra. You've made a fast decision, says Burke, and a fast decision can be a sentimental decision--think over what I told you, and come back. We thought it over, says Ezra, we made a decision--it isn't likely we'll change our minds--the answer is no. All right, says Burke, furious, I'll get other men! Fishermen, maybe, says Ezra, but not men who can run a cannery--they don't exist in these parts[/spoiler](http://www.dsboards.com/epimgs/0099-3.jpg)--if they did, you wouldn't have made us the offer that you did! Get out of here! barks Burke. Why not, says Ezra calmly--we've said everything we've got to say to each other--and he goes. Burke slams the door after him
we are transported back in time 150 years, where a very youthful-looking Angelique is being chastised by a man--Amadeus Collins, a judge--in a courtroom--"Wittingly or unwittingly," he says, "you have done Satan's bidding--you realize that the penalty for your sins is death." Yes sir, I know that, she says, trembling. And yet, Amadeus continues, you refuse to bear witness against Judah Zachary. I told you my reasons! she cries. "A curse upon your reasons!" he retorts, banging his fist repeatedly on the table for emphasis. "This man is a warlock, the living embodiment of Lucifer himself--he's depraved and evil!--his acts of sorcery are legendary--he MUST be condemned--and it is your Christian duty to tell this tribunal all you know about him!" I want to, she says, but I can't because I'm afraid of what will happen! You have nothing to fear in this courtroom, he assures her, you will stand here (he points to a podium), draped in the protective cloak of the Almighty--think of it, my child, think of the golden opportunity God has given you--he is willing to forgive your own sins--you will be immune from persecution, and given safe escort out of this country!--but only if you cooperate in helping us dispatch Judah Zachary back to the hell from whenst he came!--if you refuse, you will take his place in the prisoner's dock.[/spoiler]
Phoenix Police Department - Lt. Riley is in the office signing off on papers. I thought I'd never see the day, Riley says. So did I, says Lt. Costa (who will eventually play Horace Gladstone in 1970PT)--I must say I'm relieved. So am I, says Riley, I guess we'll have to settle for that. We could have kept at it until we went out of our minds, Costa agrees, but what would be the point? I'm with you there, says Riley, this case is finished, closed, over with, done. We hope, Costa says. I've never been a drinking man, says Riley, but this case very nearly converted me. It did the opposite with me, Costa, when those medical records came from back east, saying that Laura Collins was alive, even though the body in the fire checked out so completely--you want to know something? If it's about Laura Murdoch Collins, no, says Riley. No, this isn't about the REAL Mrs. Collins, Costa says, the one that's alive in Maine. You mean you consider the woman in the morgue to be the unreal Mrs. Collins? asks Riley. Exactly, the other man says, that's what I was going to tell you. Oh, come on, says Riley. It's not my preference, believe you me, says Costa, I can't help it--try as I might, I can't think of that woman in the morgue as identity unknown--I cannot believe that she is not the real Laura Collins, no matter what the proof is. I make it a policy to go as far as the evidence goes, and no further, says Riley. So do I, says Costa, only don't forget, I lived with positive proof there that that WAS Laura Collins, and I cannot let it go.[/spoiler]
Tad looks around and proclaims, "We're alive!" Yes, says an elated Carrie--Daphne kept her promise, I can't believe it's true! But it is, says Tad. Where are Daphne and Gerard? asks Carrie. I don't know, says Tad. You don't suppose they've gone, do you? asks Carrie, standing, looking around nervously. You do become alarmed so easily, complains Tad. He takes her hands and assures her, Daphne hasn't left us--don't you remember?--she promised she never would. Where is she? asks Carrie--she's our governess, isn't she? You must be more careful than that, warns Tad--she WAS our governess, that was a long, long time ago, in a different life. Yes, you're right, says Carrie, I'm sorry, I mustn't forget that. There are so many things they must get used to, he points out, like these clothes. I'll never get accustomed to these, says Carrie (pointing to her short red dress). And the way we talk, adds Tad, we must change that--and our names[/spoiler]
Julia tells Barnabas she's pleased with the test results, but he says he doesn't believe her--she'd lie to protect herself and continue her experiments whether they were helping him or not..[/spoiler](http://www.dsboards.com/epimgs/0305-3.jpg)The good news is real, she assures him, borne out by facts--she has changed the cell structure of his blood. It's working! Everything she believes is at stake, she tells him. "So is your life, doctor," he warns her. "So is your life." Julia tells him to stop threatening her all the time (go, Julia!) How can she gain his trust? He vows that if he feels any further weakening, he'll end the experiment--he's got to deal with Burke, and he needs all his strength to do so.
Hoffman enters the storage room upstairs and hands Angelique Quentin's handkerchief. No one saw me come up here, Hoffman assures her. Angelique covers the clay doll with the handkerchief. Hoffman wants to stand outside in case someone comes, but Ang begs her not to leave--stay here with me. Why? asks Hoffman, then realizes Ang is afraid. You find that so surprising? asks Ang. You never were before, points out Hoffman. I have felt the coldness of death, says Ang...my powers--I have never been able to control Quentin as I want to. You will now, Hoffman assures her. It's so difficult, says Ang, I'm afraid I'll go too far. He must only be sick enough for us to send for Maggie, says Hoffman. But if I lose him completely, frets Angelique--he's never reacted the way I wanted him to, I could have controlled him before if it had ever been that easy. You must try, says Hoffman, if you want him. She holds up the pin. "Start now," she commands Angelique.[/spoiler]
Millicent reads Josette's note to Natalie, which says, "I have gone away with Barnabas." Natalie looks ill. She can't have, protests Millicent. She loves him, says Natalie. "But she would have to die," protests Millicent. (how does she know that?) Many have died for love, says Natalie sadly. We must find out where she has gone, says Millicent, go after her. No, insists Natalie, we cannot fight him, I learned that. I refuse to give up on her, says Millicent, even if you do.[/spoiler]
Liz exits the kitchen, watches Julia walk across the landing, and joins Barnabas in the drawing room. Something must be done, Liz tells Barnabas--bringing him here was not the answer--he's been talking, someone will listen, believe him--something must be done.[/spoiler](http://www.dsboards.com/epimgs/0907-4.jpg)No, says Barnabas, Paul Stoddard will be taken care of by someone else--and he smiles.
I want to be with him--no, that's not right, I HAVE to join him. Why did you send for me? asks Stokes--I'm not a wizard who transports people through time. I know that, she says. Is he here, listening to them? If so, he'll give her a sign, says Stokes, a sign to forget this insanity. Is loving insane? she asks. It has been known to be (make a list of DS characters whose love was insane.)[/spoiler](http://www.dsboards.com/epimgs/0641-2.jpg)I won't accept that, Vicki insists--you have my husband something that last night, that made him know he'd lived before and enabled him to be called back. Stokes admits to giving him three Indian herbs. Vicki wants them, too, but Stokes refuses
someone knocks at the door. It's Magda--Barnabas wants you, and fast, she says--he has a plan. Beth asks what plan?--I'm coming, too. Magda says Barn only wants Quentin. Q claps Magda on the shoulder and says all right, Quentin he'll get--you must excuse me, Beth, I must beg off the next waltz. Beth starts to blather something about Barnabas' plan working. Quentin ignores her optimism and says, let's go, Magda, mustn't keep our ever-hopeful cousin waiting. And they go. Beth sits down in the chair Quentin vacated, looking as if she's going to cry. And the music plays.[/spoiler]
Harry and Mrs. J pass by. Harry finds the door locked; his mother produces the key--if I had my way, it would stay locked, she bitches. Harry says she's really uptight about this place--an expression she sourly questions him about. She turns on an overhead lamp. Harry observes that there must be an inch of dust. He complains it will take them half the night to get it ready. He places a bag of rags on a table and they get down to work.[/spoiler]
Roger enters the drawing room and asks Maggie, are you waiting up for Quentin?--"I wouldn't if I were you. Frankly," he says nastily, "pouring himself a drink, "the party would have been a disaster even if the host had been here--not like last year, ahh, last year there was laughter in the house, and in the room, genuine laughter, not the forced, uncomfortable sounds we heard tonight." Annoyed, Maggie starts to quietly trail out of the room. Take that dress off, advises Roger--it doesn't suit you--but then you know that, don't you?--you must have learned a lesson, no one can take Angelique's place, you know that--no one. He cruelly laughs at the departing Maggie.[/spoiler]
Vicki tells Liz she must think it very strange that when a child is surrounded by so many other children, she's lonely enough to write herself letters. I know what loneliness can be like, says Liz. But you--well, you could leave Collinwood if you want to, says Vicki. No I couldn't, insists Liz. What I mean is, you have Carolyn and she has you, says Vicki. Still, says Liz, I understand why it's so important for you to write letters to yourself. It's become more important lately, says Vicki, I try and write down everything--I'm so afraid I might miss something that might shed light on who my parents are. Does it mater that much? asks Liz. Even if they're dead, I want to know who they are, says Vicki--until I do, I just can't feel I belong anywhere. Isn't it enough to know that you're here now? asks Liz. No, it isn't, replies Vicki passionately.[/spoiler]
Charity says she wants to talk to Edward, but Beth tells her that he's at the Old House with Barnabas. Since she can't phone him there, Charity decides she and Tim will wait for his return. That could be very late, warns Beth. Charity asks to go into the drawing room. Beth reluctantly lets her in, and Charity notices her hesitation. There is no one to be seen when they enter the room. Charity wants to search the house, but Beth insists Edward must give permission for such a search. Charity suspects that Jamison is hiding behind the drapes and orders him out. She doesn't find him there, and figures he must have escaped through the window. I opened the windows myself, says Beth.[/spoiler]
Morgan walks into the drawing room and pours himself a drink. Explain what you meant by that, demands Daphne. I think it's quite obvious what I meant, he says. I don't think it's obvious at all, says Daphne--I don't know where Catherine is. Do you know where Bramwell is? he asks. No, she says. Do you think it's possible they might be together? he queries. Is that something you know or just suspect? she asks resentfully. He sips his drink and says, it's a very real possibility--you see, the week I was possessed, your husband took advantage of me--he saw Catherine every day!--that doesn't seem to surprise you very much--or maybe you didn't know anything about it. No, I didn't KNOW anything, she says. Then why aren't you defending your husband? he asks. I don't think it's necessary! she says, if you're implying that Catherine and Bramwell have been unfaithful, I don't believe it! You don't or won't? he demands. I think the things you said are shocking, accuses Daphne--do you really believe Catherine could be unfaithful to you? Morgan thinks that over--you're right, he says, I must never think anything like that--I'm sorry--but I'm no less angry at Bramwell[/spoiler]
NoDS Scene 83might have been had Keith Prentice been cast as shop owner Gregory and DC had actually shot it. But alas... (Scene 83 lasts from initial Reply #144 through Reply #156.))
Stokes keeps trying the door, then leans his back against it, staring at the fire spreading around his room. Quentin's image continues to laugh at him. Stokes, desperate, grabs, a candlestick and smashes the mirror, covering his eyes to protect them from the class. Miraculously, the fire goes out. Stokes stares around himself, asking for a moment, when Roger knocks at the door. Stokes assures him, I am NOT all right. Roger jiggles the doorknob. Stokes lets him in. I heard laughing, and a crash, says Roger--the mirror! I just received an answer to my ultimatum, says Stokes and I'm not surprised--if I were a ghost, which I will be someday, I wouldn't let words drive me away from his room, not even the words of the exorcist. Roger insists there are no ghosts and begs Stokes to tell Liz the spirits are gone (why should he need to, if there ARE no ghosts?). That's too dangerous, objects Stokes--Amy and David can't be left alone tonight. Roger, following him out of the room, says no, Professor, you aren't to leave the room until you agree to keep silent about this latest trick of your imagination.[/spoiler]
- what other type of show could so matter-of-factly throw out a reference to having been possessed like it's a perfectly normal life occurrence?! [lghy]
Nicholas tells her what she was about to do would have been a bad mistake. I didn't do it, she says, Bart Simpson--like, and he points out that's only because he stopped her. The temptation was overpowering, she complains, but he reminds her of the rules. He tips up her face and says, "You disobeyed me the first chance you got." She asks what he's going to do, and he says he could deny her her coffin, forcing her to face the sunrise, but he won't do that--he'll forgive her, but only because he has something for her to do, and if she EVER disobeys him again. . .she says she'll do whatever he asks. He orders her to go see Vicki--and make it a terrifying experience![/spoiler]
Gerard enters the tower room, where Daniel, still in bed, greets him in a friendly way, telling him he's been waiting to see you. I thought you would be, sir, says Gerard. What an unusual man you are, says Daniel. I do hope you mean that as a compliment, says Gerard, sitting in a chair beside the bed. Oh, I do, Daniel assures him, coming to see me on your wedding night--I've been remembering my own wedding night, which turned out so badly. Oh, you must have had a good few times, sir, says Gerard. I don't remember, says Daniel, I only remember the feeling of relief when it was over--when she was...she's dead, you know...[/spoiler]
Vicki struggles in Roger's grasp. I had to do that, he tells her, so you couldn't call out for your little friend to come back--do you understand? Vicki nods. If I take my hand away now, will you promise not to scream--it won't do you any good anyway, you know, we're the only ones in this house. Vicki nods. Roger slowly removes his hand, pushes Vicki into the drawing room and closes the doors. Vicki backs away, scared. Roger advances toward her and she backs away. Please don't do anything silly, he says, you don't honestly think you can escape from me, do you? Vicki stands behind a chair. What do you want? she asks. You think I killed Bill Malloy, don't you? he asks. I don't think anything, she says, darting away from him. If you really think that, he says, you must be petrified with fear right now, because if I killed him, then I would surely have to kill you, too, wouldn't I? Vicki is terrified. Be reasonable, says Roger, if I'd have meant to harm you, I'd have already done it--I must talk to you, and I didn't want you to call out and bring that little counter girl (always the snob!) back. What can you possibly say to me? demands Vicki. What I hope you want to hear, he says. About Bill Malloy? she asks. Yes, he says--they say confession is good for the soul--well, my soul needs purifying--I want to tell you exactly what happened that night. What do you expect me to do after you've told me? asks Vicki. That's for you to decide, he says, all I ask is that you hear the whole story--agreed? All right, she says cautiously.[/spoiler]
(always the snob!)
Maggie now lies on the chaise in Angelique's room. Quentin kneels before her, gazing at her with love. She awakens and calls his name. Don't be frightened, he urges. I'm not, she assures him she isn't--I know the truth. He goes into her arms. She hugs him fiercely--I was so wrong about you, she says--how can you ever forgive me? I should be asking the same thing of you, he says. What happened to us, why couldn't we trust each other? she asks. I don't know, he says, I look back now and see all the things I should have seen so clearly when they were happening. So should I, says Maggie, touching his face--do you know, I actually believed you'd killed Angelique and were about to kill me, and I didn't know until I found out that Roger killed her... Roger? asks Quentin, stunned. Yes, says Maggie, that's how Carolyn and Elizabeth died, they found out, and he knew... Quentin draws away from her embrace. God, he says, the poor man must have been insane. At least you don't have to worry that the police will blame you, she points out. Somehow, that's small consolation, says Quentin[/spoiler]
Cottage - David is falling asleep in his mother's arms. Laura feels a presence and sits up straighter. I know you're here, she says, you're here, Josette--you're somewhere in this room--what do you want? Josette's ghost appears by the door. Leave him alone, he's mine! orders Laura. Josette steps closer. As long as I hold him in my arms, you have no power over him, says Laura. Josette comes closer, trying to reach for David, but she can't, and drops her ghostly arms. Stay away, Josette! says Laura--you see, I told you it was useless to interfere--now leave us! Josette, thwarted, does so. And never come back, adds Laura--never! Josette fades away.[/spoiler](http://www.dsboards.com/epimgs/0165-4.jpg)David abruptly awakens. Aunt Elizabeth? He calls. (attaboy, David!) Laura caresses his hair. It's Mother, says Laura, pulling him close, go back to sleep, dear. Who was just here? he asks. No one, she says. It feels like someone was just here, he insists. You must have been dreaming, she says, placing his head in her lap--go back to sleep again
She lies on her bed, falls asleep, then begins to dream. The double doors at Collinwood open; Jeb comes out, dressed in a suit. Carolyn, on the dark landing, drifts downstairs in a lovely wedding gown and veil, holding a bouquet. Everything is ready, says Jeb. In a moment, I'll be Mrs. Jeb Hawkes, she whispers. Come with me, says Jeb, offering his arm. She takes it and they go into the drawing room. Nicholas Blair, wearing his black robe, holding the scepter, awaits them. Carolyn, disturbed, asks--what is he doing here? He's going to perform the ceremony, says Jeb. I don't want him to, insists Carolyn--he frightens me. No one is going to harm you, Jeb assures her--Nicholas won't. Good evening, greets Nicholas. Hello, says Carolyn. Nicholas compliments her beauty and says, if you are both ready, we can begin. We can't, says Carolyn, my parents aren't here, and we can't begin without them. Your mother doesn't approve of the marriage, says Jeb, and won't be here. My father will--we must wait for him, says Carolyn. You know your father is dead, Jeb reminds her. No! I can't believe that, cries Carolyn. Believe it, because it's true, says Jeb--do you understand? Yes, she replies.[/spoiler]
Outside, closing the panel, Barnabas says that he finds it hard to believe Sarah would betray him by telling David about the secret room. Barnabas feels his sister has rejected him. She will appear to you if she knows you feel threatened, predicts Julia--the best way to silence David is not to kill him, but to find Sarah! Barnabas walks over to his little sister's plaque and touches it.[/spoiler]
Quentin staggers in and collapses in the foyer. Beth cries out, thrilled that he's returned. She wakes him up and helps him into the drawing room, locking the door behind them. Tell me what happened to me, gasps Quentin. What do you remember? She asks. Nothing after the pain started, he answers. She can barely bring herself to tell him, but Quentin, impatient, insists--what do I become?--what kind of monster?[/spoiler](http://www.dsboards.com/epimgs/0755-3.jpg)She says, you attacked me. . .you changed. . .into an animal. Edward and Barnabas saw you, and Barnabas beat you away with his cane--they describe you as "a wolf that walks like a man." Quentin is overcome with horror, and buries his face in his hands. There must be something we can do, says a crying Beth. Who did I kill? Asks Quentin. No one! cries Beth, overwrought. Look at me! commands Quentin. It isn't you! wails Beth--you don't know what you're doing--it's the curse!
Josette comes downstairs later and Natalie tells her that Mrs. Collins was quite upset that she didn't come down for lunch, terrible food nothwithstanding. Barnabas came home for the meal, too. Josette tells her aunt she wasn't feeling well, and asks her to go with Barnabas to the cabinetmaker to choose their furniture. Natalie is perturbed, reminding Josette she'll have to live with that furniture for the rest of her life--she should pick it out herself.[/spoiler]
At Chris' cottage, Carolyn admires a photo of Amy and Chris. She returns it to the mantle, smiling. Chris comes in. I expected to find the cottage empty, says Carolyn, but realized you hadn't gone when I saw the photograph--you'd never leave it behind. He says nothing. She wonders why he decided to stay--I have trouble reading you, she teases. Don't even try, says Chris.[/spoiler](http://www.dsboards.com/epimgs/0695-4.jpg)Funny, she says, for a day or so, I thought we had a bit of a romance going. You were wrong, he says. Carolyn denies that--you're being wrong now, she says. We HAD something going, he amends. You aren't very subtle today, she says. Why do you keep making me do this? Demands Chris, upset--part of the reason I was leaving was YOU. But why? she asks--you never offers an explanation for anything, and I believe there's a mystery in your past I can't help you with, can't know, and it makes it difficult to understand you--why can't you settle whatever it is within yourself? she demands. Maybe, just maybe, I'm trying to do exactly that, says Chris, and MAYBE I can only do it alone, completely alone! Do you want my help? she asks. I'm going to stay, says Chris, but we can't see each other anymore. Carolyn turns away, disappointed and heartbroken.
Eve was evil, agrees Angelique--that's what Nicholas wanted--he knew Eve was secretly seeing Jeff. No, denies Adam, Nicholas is my friend!--he did everything for me. He gave you a mate that deceived you, spits out Ang-- Nick was the one who brought Danielle Roger to the experiment--not Leona Eltridge, but a treacherous woman who lived in the 18th century--Nicholas brought her back from the grave because she served his nefarious purposes, and never considered Adam his friend--he used you, as he uses everyone. Adam is rocked by this, hurt. He isn't sure, he says, but Ang tells him if he lets Nicholas go on using him, he's little more than a slave. He asks why she's telling him this. She answers that they must work together to escape Nicholas--I need your help--when Nicholas learns that Eve is dead and that Jeff Clark killed her, exactly what Ang wants him to think, it will fit in well with her plans--go back to the house, orders Ang, pretend nothing happened--pretend to be shocked, grief-stricken, when you hear about Eve. In the meantime, I will prepare for Nicholas departure. Adam isn't sure. . .he needs time to think it over. We have little time, warns Ang.[/spoiler]
Collinwood - Carl stands and listens as Judith tells Barnabas, we must find Dirk and learn exactly what he told Jamison--it's hard for me to believe monsters are running around the estate, but given all the strange things that have happened lately. . . Barnabas says, I'm anxious to find Dirk myself. Listen to me, Carl tells Judith--I have a way to find Dirk. Tell Judith all about it, advises Barnabas--I'm going to investigate the cottage. Don't take chances, warns Judith. Barnabas exits.[/spoiler]
She visits Lang in what looks like Tony Peterson's office, and he greets her heartily. She calls him Eric. She sits down and says she has something important to discuss. Lang knew she was coming to see him. She'd seen Barnabas earlier and was disturbed by what he said. She asks Lang if he knows a permanent cure for Barn's problem. He does, but won't tell her what it is.[/spoiler](http://www.dsboards.com/epimgs/0469-3.jpg)She thinks he should tell her, but he reminds her that HE is Barnabas' doctor, and Barnabas will remain his patient after he leaves the hospital, says Lang, because Barnabas knows only he can help him.
"I and my ghosts want a drink! My nerves are shot" He turns around and marches into the drawing room. Liz, shrugging her shoulders, follows. Roger quaffs his drink. Liz clasps her hands together and said, "You distinctly led me to believe that you were to meet Bill Malloy on a business matter alone." Roger, his mouth working, looking very uncomfortable, asks if he denied anyone else was present. "Omitting the truth is the same as lying," Liz asserts. Why must she jump on every little thing so vehemently? he asks. He had reasons for not revealing that Burke and Sam were at the meeting. Explain these reasons, she demands, and he says, "I did it because of you." "Because of me?" Liz asks incredulously. He knew she would be upset by it and didn't see any point in bringing it up until he learned from Malloy the purpose of the meeting and why he didn't appear at it. Liz finds it hard to believe that Bill called a meeting consisting of himself and the others and neither Roger nor the others were aware of what it was for. That's precisely right, Roger insists.[/spoiler]
That woman was not Laura Collins, that much we know, Frank tells Vicki. If only they could identify that woman it might clear up the whole thing, says Vicki. They're working on that now, he says, dental records, blood samples and everything. Could she have been a thief? suggests Vicki. That's a possibility, says Frank--but how did she get a key to that apartment?--that room was locked from the inside. Somebody must have had a key, says Vicki. We know something now that throws that whole robbery thing out of kilter, he says--someone was seen or possibly seen near that apartment the night of the fire. Then they think it could have been a murder? asks Vicki, standing. It is a possibility, says Frank. And the person they suspect, says Vicki, is that the person seen near the apartment? Yes, he says. That's awful, says Vicki. The identification was made by a Mrs. Henworthy, says Frank--she's rather elderly and her sight isn't what it used to be, and she says she could have been mistaken. Was it somebody that Mrs. Collins knows? asks Vicki. Yes, he says, I'm afraid it is. Who? asks Vicki . Let me remind you again that murder is only an outside possibility, he says. Who is it? she repeats. Laura Collins, he says. That's impossible, says Vicki, Mrs. Collins left Phoenix five days before that fire! Did she? asks Frank. She said she did, says Vicki. I know what she says, he tells her, but is she telling the truth--that's the question. Vicki looks perturbed at the possibilities[/spoiler]
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Willie, who is hammering a chair in the living room, is very reluctant to even talk to Sam, no less let him in. Willie gazes nervously upstairs, then decides it's the better two evils to let Sam take the portrait home and work on it, since he's so determined to do so. As Sam carries the painting out to the station wagon, Willie grabs the easel so he'll only have to make one trip. While they're outside, Maggie/Josette drifts downstairs, spots Sam's pipe on a nearby table, and takes it. Holding it pressed to her breast, she disappears back upstairs, missing the returning Sam and Willie by seconds. (so suspenseful!) Sam comes back in to look for his missing pipe, but it's obviously gone, so he asks Willie to keep it for him if he should find it. Willie is relieved to see Sam go[/spoiler]
Barnabas' room - Barnabas sits in a chair in his room, eyes blissfully closed, as Angelique rubs his temples, ridding him of his headache. She points out how useful she can be, and Barnabas makes a face. Trask is on his way, he says sourly. Angelique is sure Vicki is the evil-intentioned witch in the house and thinks Barnabas should cooperate completely with the Reverend. What else has caused all the strange things that have happened? Barnabas doesn't know, but he does know Vicki isn't responsible. Angelique points out that he isn't the best judge of women--he thought Josette faithful, and she wasn't, right?--she deceived him with a member of his own family![/spoiler]
At Collinwood, David is still under Cassandra's muteness spell. Mrs. Johnson sits in a chair across from him, almost nods out, then remembers she isn't supposed to sleep. She asks David if he wants anything and he shakes his head. She sympathizes with him not being able to say anything.[/spoiler]
David and Amy try to get the door open, to no avail. What will we do? laments Amy, but David has no answer. They spot an old armoire, and Amy asks what's inside it. Just cobwebs, says David. Amy asks what's in the chest. David never saw it before. Perhaps it's full of toys, suggests Amy. They open it. Only old clothes, says David, unimpressed. Amy pulls out a boy's suit, and a girl's dress--who did the clothes belong to? Some Collins ancestors, says David. Amy wants to put on the clothes and play dress-up, but David thrusts the clothes back in the trunk, insisting, in his macho way, that he doesn't play such games. Amy hears the sound of sweet music. Quentin must be playing it, she says, excited, and someplace nearby![/spoiler]
...
Tuesday's quote:
Ep #737 (1897) - Laura - 'Look deep in your soul. You will know. You MUST do something, there's very little time.'
...
We see a different version of the previous episode's ending, with Dirk and Laura mostly standing, rather than sitting on the bed. He speaks some foreign words to her, but it ends with Laura begging him not to let her die, holding out her arms to him from where she lies on the bed.
Liz enters. Julia asks, do you have any family portraits that might have been stored, forgotten in a closed wing of the house? Probably, says Liz--many. I want to search through them, says Julia. Do you have a particular one in mind? asks Liz. A painter named Tate lived in Collinsport around the turn of the century, says Julia--I bought a painting of his recently at the antique shop. Antique shop? asks Liz. Yes, why? asks Julia. Nothing, says Liz. I thought there might be others around, perhaps stored right at Collinwood, says Julia. Look as much as you like, says Liz, but I'm really not in the mood to discuss specific places for you to start looking--we'll talk about it tomorrow. She goes upstairs.
That experiment, it's always that experiment, rants Sabrina, what is so fascinating about it? It IS, that's all, responds Cyrus. She turns away and asks, listen just one minute--you expect me to marry you? Sabrina, I have told you I have my work and it must come first! But when it affects you in this way, she protests. How? he asks. You're different, that's all, she says,(http://www.dsboards.com/epimgs/0999-2.jpg)I can't explain it--ever since you came back, I just feel it, and I know you don't put any faith in feelings. Yes, says Cyrus, but perhaps I'm beginning to. Well if you are, it's because of THAT, not because of me, she says. She puts her hands on his shoulders and faces him squarely--I'm worried about you, she says--I used to think I knew everything about you, but now, I don't feel secure about that anymore-
a more complete, day by day chart. Yes, I'd like that, says Liz. It will be an honor to do one for you, says Shaw. An honor? she asks. Yes, you're very troubled, he says, and if the stars can help you in any way, I will feel a sense of personal gratification, and that is all-now, I must find out the exact time of your birth. I haven't the faintest idea, says Liz. The entire chart is based on the position of the planets, says Shaw, pointing skyward-isn't there any way you can find out? I don't know, says Liz-actually, there is-Carolyn found some letters just last week, one from my mother to my father-he was in New York when I was born-I believe she did mention the time. Call me this evening, says Shaw, smiling, and tell me.
I warned you about going out alone at night, even before this vicious animal made its appearance again. Again? asks Barnabas...what do you mean again? I made a most interesting discovery, says Trask, one that I hope will help the police with their capture...he asks Roxanne if she gave the police a complete description of what attacked her? I can't seem to remember, she says. How is that possible? he asks. I can't explain it, she says. You must try, insists Trask. Barnabas harshly tells him there isn't anything to be gained by this questioning. Trask asks him--don't you?--your attitude is remarkably like that of your late father, the original Barnabas Collins. I didn't realize you were old enough at that time to make such an observation, says Barnabas sharply...I was not. It is all here, in this letter, all of it, says Trask, withdrawing a letter from his breast pocket...your father's ridiculing of my father...yes, the most interesting document was written in April, 1797 in this very house, and to my dear mother...yes, it seems that at Collinwood at the time, there were these same mysterious attacks. Roxanne insists one has nothing to do with the other. We shall see, smiles Trask
Morgan enters, an ancient paper in his hands. What have you got there? asks Gabriel. You know as well as I do, says Quentin--Brutus Collins' letter--dated 1680. Father told Melanie I was to read it this evening, says Morgan. You're not going to read it aloud, are you? asks Gabriel nervously. Quentin laughs--what's the matter with you, Gabriel?--are you afraid to hear it? We must do as Father wanted, says Morgan, and proceeds to read
Liz enters the room and says she thought Carolyn would be dressed by now. Vicki and I were just talking about life and death. Vicki tells Liz she's very sorry. Liz thanks her and says they all are--darling, she tells Carolyn--get dressed, go into town and see if you can find Uncle Roger. (Cell phone/beeper, where art thou?) Do I have to? asks Carolyn, I'd so much rather stay here with you. I think he ought to know about Bill, says Liz. But he must know by now, objects Carolyn--it's probably all over town! Do if for me, begs Liz, please? Carolyn nods and gives her mother a hug before she goes--did I ever tell you that I love you? she asks her mother.
She tries to run away from him, so he snatches hold of her, twists her arms and demands that she never leave him, never. "You must stay with me always, Josette" he entreats over and over. He's going to have to punish her for her attempt to leave him! She insists she wants to stay with him
Andre covers Jeremiah's dead face. Josette bursts in--she saw Jeremiah! She cries. The clock was striking two when he appeared in her room! That's impossible, insists Andre-- Jeremiah died, and just as the clock was striking 2 AM!(http://www.dsboards.com/epimgs/0390_91-4.jpg)Josette gazes somberly at her dead husband.
Frustrated, Adam tries to break the metal bonds, but is unable to. Barnabas enters with his tray of food and greets him, "Good evening." Adam grabs for his meal, but Barnabas orders him to sit and tells him when he does so, he'll get his supper. Adam touches his mouth, sits, and points to his tray. "Good," says Barnabas.
Charity insists Barnabas must be mistaken about Laura. He assures her that Laura is much more than she seems--and exactly what she is is what they will find out.
Barnabas asks Carolyn, is this the man you met today?(http://www.dsboards.com/epimgs/0905-1.jpg)(IT LOOKS LIKE QUENTIN!) Yes, she says, terribly distressed. It was an accident, he assures her. I understand, she says
1000
Quentin and Cyrus have opened Angelique's tomb and are moving the casket to open it when Alexis interrupts them. "Quentin, please!" she begs, if you ever loved my sister at all..." What are you doing here? demands Quentin, a sick look on his face--how did you know to come here unless you're... Unless I'm Angelique? Alexis finishes--you believe it now, too, don't you?--well I'm here because I heard the two of you talking and I will not have my sister's grave defiled--Quentin, if you'll stop now, I'll go away, and all the torment you're going through will be over--I'll leave Collinwood tonight, I promise. Will that stop what's happening in this house? Quentin asks--no, I've got to do it, and no one's going to stop me.
As if in a dream, Hallie walks toward David. Even her hair is done in period style, complex ringlets galore. She wanders past David, up onto the gazebo. Who are you? he asks. The wind blows strongly, messing their hair. Hallie? asks David. She suddenly seems to come withdraw from her trance and asks, David, what am I doing in this dress?-and doing here? He stares at her--you wrote me a note to meet you here, he explains-and hands it to her to examine. I didn't write it, she says. What kind of game is this? he asks.(http://www.dsboards.com/epimgs/1074-e.jpg)(http://www.dsboards.com/epimgs/1074-f.jpg)I didn't write it, repeats Hallie. I know your handwriting, he says. It's different, she says. It is sort of different, he agrees, looking at the note again, a little old-fashioned looking. She turns to him and asks, tears in her voice, who wrote it? You didn't, he says-then how did you know to come? I don't know, she says, I don't. I was going to bed when I saw this dress-it's the dress from your dream, isn't it? Yes, he nods, where did you get it? It was lying on my bed, she says. No, says David, after I described it to you, you must have gone and got it someplace. No, she says, it was lying on my bed before you ever had that dream. Hallie! he objects in disbelief. It's true! she says. How can I have a dream about a dress I've never seen, he asks, a dress that's real? She shakes her head--I don't know. It's crazy, he says. Everything is, she responds-my coming here-David, I didn't know where I was going when I left the house, but when I came to the gazebo, I knew-this is where I was meant to come-I wasn't even surprised to see you-oh, David! Somebody else wanted you here, guesses David. WHO? she asks. I don't know, he replies, but I'm going to stick around and find out.
He didn't die of no heart attack! she rails, he died of fear, he did--fear of that awful thing!--why did you ever bring it here, it can kill you, too, you know that, don't you? Nothing is going to happen to me, he assures her, but he seems miles away from the fun-loving guy we met. You're wrong! she says--it's already begun to happen--you're afraid of it just like Green was--there's something it wants you to do, and you're afraid not to do it. You just stop talking like that! he says, pointing a finger at her. Let me help you, she begs--I don't want no harm to come to you. Maybe you can help me, says Desmond--this man, before he died, told me something, but I don't know what it means--it concerns something very important that I must find. What is it? she asks. I can't tell you, he says, it's a secret. Her voice rises; she points accusingly at the head and says, you can't tell me because that THING wants you to find it! That's not true! he cries, turning away.
Sandor tells Barnabas, I found it, in the crypt. Barnabas orders him to open it--I'll be with you at midnight, then takes down the portrait and looks at it. "But first, I must pay a visit to an old friend," says Barn.
It's a terrible day, says Sam, when a good friend dies, you sit around and wonder what the world was like. I didn't know Malloy was a good friend of yours, remarks Joe. That he was, says Sam, one of the best--he was a very great man, of course you only knew him as your boss, but he was one of the finest men that ever walked the face of this earth--shall we drink to his memory? They do. You haven't been up to Collinwood since they took Bill's body out of the water, have you? Sam asks. No, says Joe. Surely you've spoken to them, Caroline (that's how he pronounced it) is your lady love. Not yet, says Joe. Then you have no idea how they're taking it, says Sam. All I know, says Joe, is that they ordered the plant closed for the rest of the day; that's how I happened to be in here.
She wants Joshua's approval, but he coldly refuses to give her that. Naomi is appalled. He offers Angelique $10,000 in gold--she can return to Martinique in style with that kind of money. (whew, nice bribing, Josh!) It's a small enough ransom for Barnabas' future. Angelique wants him to like her, and if he doesn't bend to this, his life will be very lonely. Naomi agrees. Joshua asks her to wait a suitable mourning period, to be decided by him, but Angelique says he only wants to buy time to fight her. Then we understand each other, says Joshua stiffly. Then the wedding will take place immediately, spits back Ang. Naomi begs Angelique to wait the mourning period, and promises her friendship to her for the rest of her married life. (drunkard or not, Naomi makes the most sense.) Angelique, smiling triumphantly, agrees to this.
Angelique realizes, however, that she still must contend with Josette, who could very well take Barnabas from her. She must fix that--tonight!
Willie might not have to suffer the dream, just follow simple instructions--go to Collinwood and steal the portrait after dark. Barn will assure the window is unlatched. Bring it back to the Old House, and he will give Willie a note instructing Cassandra to come to the Old House at 10 that evening. Even if his plan fails, says Barnabas, he has very little to lose, if he succeeds, Cassandra will leave Collinwood and be returned to the 18th century where she belongs.
741
Somehow, Laura hears the sound of Sandor's work. When Magda comes out, Laura questions her about the noise, which the gypsy doesn't hear. It sounds like chipping stone, says Laura, and is getting louder. Rest, encourages Magda. Laura cries out, "Oh, God!" and races from the cottage.
Rose Cottage - Gerard sits before the crystal ball, agitating over why Leticia couldn't see which man Samantha was going to choose. Flora interrupts--are you trying to read your own future? she asks. He smiles--I see nothing but happiness, he says. I hope that's true, she says. He takes her hand--who could deny me anything? he asks. A woman with a husband and a child, answers Flora. Depressed, he rises from the chair. Dear Gerard--you love her so much? inquires Flora sympathetically. He nods, rubbing his hands together--Samantha must remain with Quentin, he says. Yes, agrees Flora
Morgan, frantic, enters--I'm right, he says--something has happened to Catherine--she hasn't returned home yet, and her carriage is still parked out by the gate!
If the carriage is still there, Catherine must still be on the estate, says Quentin. That's right, agrees Morgan. Oh no, says Quentin--Mother said they ran into Bramwell outside--she told him about the wedding tonight, and he was very upset. Morgan races away, Quentin calling after him. Morgan returns with a pistol.
A hooded figure waits in the gazebo, calling to someone, begging that person "to try." Sam pauses in his work at a little after midnight, sipping some coffee. He hears sobbing emanating from the portrait.
Quentin is ready to leave, but Barnabas thinks they can help each other for once--I'll answer your questions if you answer mine--unless you're afraid to tell me about Laura Collins.(http://www.dsboards.com/epimgs/0743-1.jpg)Quentin isn't afraid--but I would like to know why you are so interested--and what were you doing when I came in? Barn counters with his own question--why did you lie to me about being in Alexandria, when you know darn well you and Laura spent lots of time there? All right, it's true, so what? says Q. I want to know what happened there that made you permanent enemies, says Barn, and so anxious to get rid of her? Quentin sits. I'm not afraid to talk about it, he assures his cousin, but more afraid you won't believe me. It must have been very strange, says Barn, sitting across from him.
Cassandra covers her face in the hood and Carolyn asks if one of them isn't going to say something in his/her own defense. Tony assures her this isn't what she thinks. She says he doesn't sound convincing--what's going on? asks Carolyn. Tony says Cassandra needed help in a legal matter. To be discussed in a tender, romantic atmosphere? asks Carolyn--she happened to wander out here because she saw his car pull in the driveway--she thought he was coming to see her! She saw him get out of his car and go to the garden, so the followed him, and didn't expect to find anything so tacky as this. Tony turns to Cassandra. Please tell her she's wrong, he insists. Speak up, Carolyn urges Cassandra. Cassandra says it wouldn't do any good--Carolyn has already passed judgment on them. No, I've only had to come to a conclusion, says Carolyn--the one who will have to pass judgment is Uncle Roger. This upsets Cassandra, who has far more pressing matters to contend with. You remember him--your husband, says Carolyn. That would be a mistake, says Cass
Liz laces her hands and said she'd hoped to hear from Carolyn. Vicki brightly reveals that Carolyn called her earlier and said she would be out and possibly not home for dinner. Liz wishes she could have spoken to her herself, but Vicki says Carolyn didn't want to disturb her, she just told Vicki to tell her mother that. Liz wonders (hopes) if Carolyn has a date with Joe. Vicki agrees that of course, that must be it. Vicki gushes over what a nice boy Joe seems to be, and Liz smiles and agrees. Liz speculates that Carolyn might be looking, instead, for a very clever man. Vicki assures Liz that if she's worried about Carolyn being serious about Burke Devlin, she's not; Carolyn hardly knows him. Perhaps that's what intrigues her, Liz frets, and explains that she's sure Carolyn had planned to meet Burke this afternoon, but Roger was fortunately able to stop her. Pronounces Vicki, "If Carolyn planned to meet him, I don't think anyone could stop her!"
he asked me to find out--now you must have been aware of all my questions. I was, says Laura, but I understand. Your arrival in this town has caused a lot of interest--Burke Devlin was in here a little while ago and he was looking for you. Oh, she says, not happy."
7:30 - The clock strikes the half hour. Kendrick knocks at the drawing room doors. When Flora answers, he says, I'm glad to see you at home. You're wasting your time, says Flora, I have nothing to tell you. You're only one of the reasons I'm here tonight, he says--I've come to take Melanie out for the evening. You've come to what? demands Flora. I think you heard me the first time, he says. Impossible, says Flora--Melanie can't go anywhere with anybody. I'm not anybody, says Kendrick, I happens to love her very much--and I intend to help her--I would never harm Melanie. The harm has already been done, she says coldly. What does that mean? he asks. I think you'd best forget it, she says. What harm are you talking about? he asks--I want to know if it affects Melanie. Melanie isn't a normal girl, Flora reminds him--you've seen that for yourself, only my family can take care of her. The great Collins family, he mocks, that's why she runs frightened to her room every time because that's all she's ever seen. Whatever problems we have, she says sternly, we prefer to deal with ourselves. How can you deal with your troubles? he asks--you're building them on a wall of lies!--the truth has been missing from this house for so long, you can't recognize it--let me help you--perhaps we were enemies at one time, before I fell in love with Melanie, but now I realize we must work together and break down this door!--and let truth in--who killed my sister?--you know who she was acquainted with--who had reason to kill her? I assure you, says Flora, we know of no one who had reason to kill Stella. Perhaps there was no reason--perhaps it was a mindless, senseless act after all! suggests Kendrick. Gabriel did not do it, says Flora. Someone did--who?--who? demands Kendrick. I don't know, says Flora. First tell me where it happened, says Kendrick, and how! I can't tell you anything! says Flora.(http://www.dsboards.com/epimgs/1227-4.jpg)From the doorway, Melanie calls, "Mama--you had better tell him--I tried, but I couldn't--so you tell him--please!"
The jailer says it's a pity Bradford had to die, with his appeal for pretty women. He tells her that a few short weeks ago, it appeared he might marry another lady, found guilty of witchcraft, and hanged. This surprises Eve. Her name was Gloria Winters, he reveals (Victoria, we all know), but no one knew who she was or where she came from. Victoria Winters died here? asks Eve. They explain how, when she was hanged, she had a mask over her head. When it was removed after the execution, it wasn't her, and no one knows how or why it happened--it convinced them she must have been a witch. So, mutters Eve, she came back here and fell in love with him!
Maggie enters Josette's room and calls to Joe. He seems more himself, but turns his face away. Don't you want to see me? She asks. I don't want you to see me, he replies, despondent. What's happened? she asks miserably--I promised I wouldn't ask, I don't care what you did, you must get well! She moves around to look at him, telling him their lives are so much different than they ever thought or planned
Barnabas and Maggie enter Quentin's room. She recognizes it as the room she was in during her dream. Barnabas calls to David, urging him not to be frightened. Maggie hears a door open, then close, followed by footsteps. Barnabas and Maggie stare at each other. Someone's coming! The door opens--it's Stokes, who was searching the West Wing until he heard the sound of pounding. Barnabas explains about taking down the panels. Stokes finds the room fascinating--it appears nothing in it has been disturbed since the Victorian era--except for the spirit of the man who died there. Quentin died here? asks Maggie. Yes, says Stokes, the room was sealed, imprisoning his spirit until the seal was broken. Stokes wonders how she knows the name. Maggie explains she heard David mutter it in his sleep one night. You made a more remarkable discovery, opines Stokes--the room will tell us much. Barnabas says they want to find David. Stokes says he didn't see him while searching the house--he does, however, spot Amy's shoes peeking out from under a curtain, and pulls it aside. She tumbles forward, fainting to the floor. Maggie and Barnabas rush over to her. Barnabas asks her to speak to them. The child is possessed, says Stokes, and must be removed from the house immediately. Maggie leads Amy out.
Basement, cottage - We hear Julia upstairs--I don't see anyone here, she says. I'm sure I heard someone going down into the basement, says Carrie. The cellar door is open, agrees Julia. They go downstairs and find Forsythe lying unconscious on the floor. Julia kneels and checks him. Is he dead? asks Carrie. He's still breathing, says Julia--we've got to find a way to get him back to Collinwood--what could have happened to him down here? I don't know, says Carrie, but I feel the spirit again, the same angry spirit I felt at Collinwood the other day. Morgan told me about that, says Julia. I'm frightened, says Carrie. I don't think you should stay here tonight, says Julia--stay at Collinwood. Yes, I think I'd like that, agrees Carrie. I'll try to revive him, says Julia. Wind blows through the room. What's happening? asks Julia. It's him! says Carrie, the spirit--he doesn't want you to touch him--we've got to get out of here. They notice the unearthed skeleton of Sarah Forsythe. Morgan asked me if I felt her spirit in the room, sobs Carrie--he said he knew she was down here someplace, that must be her. Who is she? asks Julia. I don't know, says Carrie
Daphne yawns, realizing it's happening again--I want to sleep, I must sleep--what is really happening? She falls asleep and dreams
When we were outside the door, we heard voices, notes Julia--who was it? I was talking to myself, says Carolyn, rocking vigorously, I often talk to myself because I'm alone so much--I don't like being alone--I ask myself how long it will be before they all come back. Before WHO comes back? asks Barnabas. Everyone, answers Carolyn--do you know where they've gone? Barnabas looks at Julia and patiently asks Carolyn, who are you talking about? If you do know, says Carolyn, you must tell me, you mustn't keep it a secret from me.(http://www.dsboards.com/epimgs/1065-1.jpg)She grows petulant, gritting her teeth, and says, it isn't fair! Barnabas and Julia exchange sympathetic looks.
Hospital - Quentin gets dressed. He looks in the mirror and adjusts his hideous mustard-colored shirt. Cyrus enters. Quentin asks, "What's the bad news?" Cyrus, chart in hand, notes, the tests proved most fascinating. You mean I have to go through more? asks Quentin. No, we've completed them, responds Cyrus. Don't tell me I have some hitherto undiscovered tropical disease, says Quentin. If you had, says Cyrus, perhaps I'd have known what to do. What are you talking about? asks Q. There's nothing wrong with you, says Cyrus. This shocks Quentin, who asks, WHAT?--you must have made a mistake. No mistake, says Cyrus, you're in perfect physical condition. You saw me last night, Quentin reminds him--in extreme pain, barely able to breathe. I'm aware of that, says Cyrus, but these tests don't lie--you're in sound health. Did the report say anything about mys mental condition? asks Quentin. Mentally, you're fine--as well balanced as anyone I know, says Cyrus (that's not good!) A man doesn't have an attack for no reason, says Quentin--there must be either a mental or physical cause. There's a third possibility, suggests Cyrus--the symptoms appeared so suddenly, without any reasons whatsoever, or warning, that this must have been caused by something supernatural. Quentin stares at him.
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.
Back at the studio, Petofi pours himself a drink. To Aristede, he toasts--Charles, we spent many pleasant hours together, but in the final test, he proved disloyal. He didn't look so pleasant lying on the floor in the mill, says Charles coldly. Death seldom shows us at our best, says Petofi--you shouldn't upset yourself over Aristede. Aristede wasn't Garth's only victim, says Charles--on his way back here, he stumbled on the body of a woman. Whatever she did to anger the Master of Dartmoor, says Petofi, she won't do it again. You look so self-satisfied, says Charles, but then you don't know who the woman was. Why should I care? asks P. The woman was a gypsy! cries Tate, right in Petofi's face. This catches the old man's attention--where did you see her? Close to here, says Tate. She must have known I was here, says Petofi, thanks to Aristede--his last act of betrayal--I must hurry, I have no time to lose. He stands but nearly passes out. Tate warns him against going anywhere. My psychic powers are as weak as this body, says Petofi, I won't he able to go anywhere, but I must escape them--I must and will, I, Petofi, can do anything, and I must go to the future now--I'm going as Quentin, that is how I'll go, he vows. He has his own body back, Tate reminds him. I have mine back, too, says Petofi--and the power of the hand as well--when one loses an engagement, one doesn't surrender, one fights harder to win the next--I must act now, there are many reasons for me to go to the future, but not one to stay here. Garth Blackwood, Tate reminds him.
David returns from outside and tells Carolyn he figured out the exact spot where Mr. Malloy's body must have been(http://www.dsboards.com/epimgs/0058-2.jpg)--maybe the exact spot doesn't matter that much, but... He heads into the drawing room and Carolyn orders him to come back here--didn't he understand anything she said to him? Sure, you don't like this house, he says. I'm talking about Mr. Malloy, she says--what you're doing is morbid--can't you see that? No, he says, because I don't know what that means.
Mrs. Johnson is sure if David went with his mother, harm will befall him; she's afraid of Laura. Vicki says she is, too, but Mr. Collins put her on the Heartland bus early this morning, and therefore she must be there, waiting for her train. Mrs. Johnson bets she got off the bus before it left Collinsport. Vicki says they can find out--she'll phone the bus station, and the driver will tell her what happened. Mrs. J says she thinks Laura is somewhere nearby--with David. Vicki picks up the phone
In the secret room, Barnabas accuses Julia of arousing Woodard's curiosity. He opens the panel. David must be silenced, insists Barnabas, but Julia protests. Barnabas opens the coffin and shoves her into it violently. "Think about an existence of total darkness and loneliness," he says--"does that appeal to you?" Of course not, she answers. I intend to remain free and take my chances, he tells her. He closes the coffin and they leave.
]Vicki is pacing her room at the Old House when Jeremiah comes in with her clothes--keep them hidden, he advises. He tells her they must concoct a story, a plausible lie, to tell Joshua, or she'll be in danger.
7 AM - Collinwood's foyer - Liz tells Stokes that while she knows Vicki sent for him, she fears what she will ask him to do. Stokes promises to help as much as possible, but Liz wants Vicki to forget Jeff Clark--it's for the best. Don't encourage her, says Liz.
It struck me yesterday after I posted about Saturday's quote that a clip from Ep #315 was used to promote DS when it was on in '80s syndication in my area. I dug out the tape I thought the promo was on and indeed it was. However, for some reason the video portion wouldn't play in my current VCR, only the audio - this, despite the fact that the video and audio for the DS eps do play. Who knows? However, I've recreated it as best I could:
This promo ran Jan-Mar of 1986, between the time Eps #315-#365 were airing...
Roger, Carolyn and Liz troop downstairs. Roger is going to search the grounds, but won't let Liz--and don't phone Chris until after the kids are found, he says. Carolyn and Liz go into the drawing room and wonder why David had to go out tonight in a storm. Carolyn feels a hand pushing her toward the door. It's Magda--she must want us to go someplace, the only place in the house we haven't searched--the West Wing. Carolyn thinks they should go, and if Roger won't go with her, she'll go alone. Roger follows her, annoyed. He won't allow her to go alone.
Angelique sits by the fire in the Collinwood drawing room. She hears the front door open and goes out to greet Barnabas. You've come to call! she says cheerily. On Quentin, he says, turning away from her. You'll have to settle for me, she says--you and I still have a great deal to discuss. I think we said everything we can say to each other, he says. No, says Angelique, you still haven't told me about my new sister in law, Julia. He turns to face her. I never knew I had such a CLOSE relation, says Ang sarcastically--I knew you had a sister--Sarah--but she's dead, remember? You caused her death, Barnabas reminds her harshly--I will never forget it. Perhaps, says Angelique, I will be equally kind to Julia. Angelique! he explodes. Valerie, she corrects in a hushed voice--you mustn't give me away--you'll give yourself away as well. I'm quite aware of that, he says testily, walking away from her again. So, she says, you have found yourself a sister--where did you find her, the woods? (Bitchy, bitchy) Make up any story that will satisfy you, advises Barn. Nothing will satisfy me except the truth, she says--it seems she came here to meet you, saying she received some kind of note--but it was several days before you arrived and she became quite concerned--where were you hiding?--does she know what you are? He turns to look at her. I wouldn't trust her if I were you, continues Angelique. I do implicitly, Barnabas assures her. Are you in love with her? demands Angelique. She's a friend, that's all, says Barn. Where did you get such a good friend, hm? asks Ang--where did you get such a good friend, and how long have you been out of the coffin? I don't think it's wise to discuss these things here, says Barnabas. Do you plan to answer me? she asks. No, he says. DO you think that's wise? she inquires, her face very close to his.
Willie, trying to figure out what to do, paces back and forth in front of Tad and Carrie, who sit on the sofa in the drawing room. Why don't you go look for your friend, Barnabas? asks Tad. Shut up, orders Willie, just sit there and be quiet. Are we going to wait here until he arrives? asks Tad. Must we sit here all night? asks Carrie plaintively. Willie rubs his hands together, thinking. Can't we go to bed at all? asks Carrie. Hearing dogs howling, Willie listens carefully. I don't want to stay down here anymore, bleats Carrie. I'm not taking you back upstairs until I find out what's going on--and why, insists Willie.
Maggie finds the door to Angelique's room locked and rattles the knobs. Quentin is that you? she asks, please! The music stops. Julia comes to her--what's wrong? she asks. There was music was playing in that room, says Maggie, and the doors were locked! She's verging on hysteria when she sees the doors are opening now. What music? Julia asks. The music Bruno used to play for Angelique, says Maggie...you must have heard it, someone was playing the music--the doors were locked, and they wouldn't let me in. She turns and sees the doors ARE open. They were locked! She screams, they were! They find no one at the piano. It can't be! wails Maggie, there was somebody sitting there playing the piano and those doors were locked, I'm not going mad, I'm not!
something has happened to him--he's undergone a frightening change--"There was no reason for him to lie to ME!" says Julia--he told me he returned to the future the same way he got to the past--via I-Ching--that would mean through the cellar, but that's not possible, since I locked the cellar door from the outside.(http://www.dsboards.com/epimgs/0889-4.jpg)Chris doesn't understand, and neither does Julia--but I'm getting to the bottom of it--go back to your cottage, I've got something to do here. Chris leaves. That box, muses Julia, why did he bring it back from the past, what does it mean to him? He didn't want me to touch it--there must be something inside that will explain why Barnabas isn't himself anymore. Determinedly, she enters the house
He looks around the room, noting how dark it is. He takes a two-candle candelabra and lights it with his one candle. How many candles?--I must think of that--I will get no more. What will I do. He hears the door squeak.
And Matthew? asks Liz. He could be anywhere or everywhere, says Patterson, I'm pretty sure he's not out of the state, though. I wish he were, says Liz, then I'd know he didn't have Vicki. We've gone over this area very carefully, says Patterson, and I'm convinced he's not around here. But you're not sure? says Liz. I'm reasonably certain, just not positive, says Patterson--I am going to leave my men here to go over places we've already looked. What about Vicki? asks Liz. Not a trace, he says, I've called the Bangor and state police--they're checking into all the hotels, hospitals, taxis, buses, railroad stations, everything--I've even got men back on the beaches and up on the cliffs. Liz rises and asks what the odds are that Matthew has her. I can't give you odds, he says. Then it's possible, she says. It is, he agrees. Do you think he'd harm her? asks Liz. To be realistic about it, says Patterson, yes, he might--but on the other hand, he might not, he's very unpredictable--you know the strain he's been under, and you know what he was like to begin with. I'm to blame if anything's happened to her, laments Liz. You mustn't feel that way, says Patterson, no one could have predicted this. So much has gone on here, says Liz, so much that's wrong--if only I could turn time back and make everything right. I think I know what you mean, he says. You only know part of what I mean, says Liz. (A clue to Vicki's parentage?)
Someone knocks. Sarah answers. It's Patterson, asking for Liz. Sarah invites him in and asks if she's found her yet. I'd like to see Mrs. Stoddard, insists George. You can tell me if you've found her, after all, I know the poor girl...says Sarah. If you don't mind, says Patterson. Oh, I see, you haven't found her, says Sarah--what a police department!--you could have a hundred clues and 50 eye witnesses and you still wouldn't solve the case. (LOL!) Have you finished? He patiently asks her. Oh, a murderer around here someplace, what kind of protection do we get? asks Sarah grumpily. It's Mrs. Stoddard I'd like to see, says Patterson. Liz appears in the drawing room doorway and calls to the sheriff, inviting him inside. They haven't found her yet, as you might expect, says Sarah disapprovingly. Come inside, says Liz, and orders Mts. Johnson to please shut the doors. She does so. I see you know her well enough not to pay any attention to her, says Liz humorously. I ought to deputize her, says Patterson--she gives a pretty mean interrogation. He sits beside Liz on the sofa--unfortunately, he says, she's right--I haven't a clue, not a trace.
Julia stands on the landing in Collinwood's foyer, clutching her notebook. She heads downstairs to gaze at Barnabas' portrait, ruminating that she knows he plans to kill her. There's no way she can keep it in her room; she must find someplace to hide it overnight until she can stow it away in the bank tomorrow. Julia stands in the drawing room, pondering where she can hide the notebook where Carolyn can't find it. She searches everywhere for a suitable hiding place, finding nothing to her liking.(http://www.dsboards.com/epimgs/0356-1.jpg)As she's heading toward the kitchen, the grandfather clock in the foyer strikes, and Julia decides to hide her notebook inside the trusty clock.
Adam spots the light shining in the window and gazes in. He opens the door and enters. Stokes, waiting for him, greets him, "Adam?" Adam is all set to run, but Stokes assures him he's a friend and wants to help him. Adam is mistrustful, afraid, despite Stokes' assurance. The professor observes the scars, calling him an extraordinary creature. When Adam tries to push Stokes away, the latter drops a stick pin on the carpet. Stokes says "Friend," says Stokes--I AM your friend, possibly the only one you have left--I can help you, give you food, which you can't survive without. The word food makes Adam point to the kitchen, which surprises Stokes. "My name is Adam," says the big man, and Stokes asks him to say more. "Paintbrush" says Adam, showing him the object. Stokes is pleased.(http://www.dsboards.com/epimgs/0518-4.jpg)They must find out why Adam says little but understands what is said to him. He offers Adam a home with him, give him lots of food, teach him to speak and communicate with people. Adam tries to say "Communicate," and Stokes says he'll help him learn quickly--they'll be good friends. He leads him out, and Adam repeats the word "Friend" with good cheer, happy to have found someone who cares-and is alive.
Quentin drunkenly sits by the fireplace and tells Angelique she made him a promise, and she owes it to him to keep it. He helped her, now she must help him! He sways around, pissed off. Laura comes in, asking if he's taken to talking to himself--a very bad habit. What are you doing Here? he demands. I'm going to be staying in the cottage, didn't Edward tell you? she asks.
Catherine and Bramwell share a passionate kiss, too, but Catherine's feelings are a lot more mixed. "See, my darling," he says, "everything's going to be all right." I feel responsible for Morgan's death and all the unhappiness I caused when I married him, admits Catherine--do you know how I feel when I look at Flora, and at Julia? Darling, he says. She draws away from his embrace--I feel guilty when you call me that, she says. But you are my darling, he reminds her, drawing her close again. Yes, she says, kissing his hand, holding it pressed to her face. You always will be, he says--we will leave within the week--we will forget everything that happened here. I can never forget, she vows--I'll remember now that I must follow my heart, not my head--I'll never make that mistake again. "Never forget, you will always have my love," he says tenderly. That I will remember, she promises, kissing his hands. I will make you happy, Catherine, I promise, he says. They kiss, holding each other tightly.
Liz asks Roger what happened. He doesn't know. Liz fears this will hurt Vicki; they love each other, what can change that? Roger tells her not to get worked up, but she can't be calm. He assures her he isn't calm or unemotional, and she says she didn't mean to attack him. She prayed that for once, everything would be well. Perhaps it will be, says Roger, not convincingly. Liz can tell he isn't sincere. Whatever happens, says Roger, you must not allow it to affect you--the expression on Jeff's face spoke of bad news--Vicki might need you more now than ever before
Magda tells Sandor to check upstairs for Jenny--I will go downstairs and look outside(http://www.dsboards.com/epimgs/0745-4.jpg)--we must find her--she has a devil in her!
I don't want to return here, says Nicholas. No one ever does, intones the Master. If I give you what you want, I deserve more, insists Nicholas--to remain on earth, without my powers. How will you survive? wonders Diabolos. Perhaps I wouldn't, says Nicholas quietly--it's because I want Maggie with me, admits Nicholas--I love her very much. The Master pronounces Nicholas hopelessly lost--no wonder he made such a mess of things--when the experiment is over, you must return to hell. I won't be allowed to be with her? Asks Nicholas. I didn't say that, says the Master--your story has touched me--I mean that you can be with her. Nicholas is excited. Then the Master drops the other shoe, "But only here." "But that would mean she would have to die," protests Nicholas. Yes, says the Master--arrange it--there is something else that must be done before she can be accepted here--she must be sacrificed on the black altar. No, protests Nicholas.
when I came downstairs at 10:30, Mr. Malloy was gone and you were talking on the phone. 10:30? Asks Roger--I was on the phone at 10:30? Yes, we talked about Sam Evans' dinner invitation, do you remember? I remember our conversation, says Roger, but I don't remember any phone conversation--who was I talking to, do you remember? I wasn't paying attention, says Vicki. Do you remember what the conversation was about? asks Roger. Something about a meeting, I think, says Vicki--what difference does it make? None, says Roger, I was just curious. Bill Malloy was gone, says Vicki, and you and I talked about Sam Evans, and then I went upstairs and you left. That's nonsense, says Roger, I didn't leave this house until 10 of 11. Oh no, it was much earlier than that, says Vicki. What time do you think I left? asks Roger. Let's see, says Vicki, I was in the upstairs hallway and I heard the front door slam--it must have been about 10:35, not much later--why? (Time discrepancy!) I simply feel that if you're going to report my movements to Burke Devlin, says Roger, that you should at least be accurate. I wasn't reporting your movements, says Vicki. As you wish, he says, be that as it may, I did not leave this house until 10 of 11. If you say so, says Vicki doubtfully. Good, then we're agreed, says Roger--it's not important, of course, it's just that I have rather a personal fetish for accurateness.
Roger gazes at the painting. I should be angry with you, he tells her, for giving this painting to David--you must have known it would upset him, with that imagination he's got. I knew it would disturb him, agrees Vicki, I don't know why I gave it to him.
At the Old House, Willie tells Barnabas he's been having problems keeping Josette in her room, and Barnabas asks Willie to bring her to him.
Josette and Naomi burst in and tell the two skeptical men about seeing the hand thrusting through the earth of Jeremiah's grave. Joshua is sure Naomi's been dipping too heavily into the sherry again and Andre figures Josette's at the end of her rope, emotionally, and encourages her to go to bed. He goes with her because she's afraid to be alone--Jeremiah is going to come looking for her!
Barnabas wants Julia to stay, and a furious Sam accuses her of being "in on this" with Barn. I'm not in on anything, insists Julia. Sam says she can stay, then explains to Barnabas that he followed his instructions; he describes what happened. Julia listens carefully as Sam tells of aging Angelique's portrait--all ordered and paid for. A woman came in, the woman in the portrait--she said it was stolen. Barnabas insists he had permission from the owner. Sam refused to give it to her. When he went back to paint, the woman told him he'd never finish it. He picked up his brush and found he couldn't see! Barnabas exhibits fear, knowing what has happened, feeling extremely guilty that he has brought this on Sam, who demands to know what Barnabas involved him in.(http://www.dsboards.com/epimgs/0500-2.jpg)Barnabas says he had no idea there would be any danger.
Julia sits upstairs at the Old House, reading a book. She answers Maggie's knock at the door. The young woman relates what happened to Sam--he wants to see Barnabas, but he needs Julia more--he's gone blind. Julia rushes off to get Barnabas--they'll both go.
Liz turns to David and tells him, we've been worried to death about you two. Barnabas asks where they disappeared to. Liz wants to know, too. Amy walks over to David and says, "And YOU said they wouldn't miss us!" We went out for a walk, lies David. We've been searching for you for two hours! Says Liz--where have you been?--did you get into trouble? No, says Amy--is it all right to tell them, David? David protests. You don't want me to tell because you'll feel embarrassed, says Amy--boys are like that, whenever they do something they should be proud of, it always makes them embarrassed when anybody talks about it. Amy explains that it started early this morning--she had a terrible dream, and woke up crying, ran to David's room.(http://www.dsboards.com/epimgs/0645-4.jpg)She told him she was afraid of this big house, it makes her feel small and lost. David took her outside to an open field to watch the sun come up, so warm and peaceful and quiet, and when she looked at the house again, she felt good inside and knew she'd never again be frightened. This made-up tale impresses a grinning Liz, who can't possibly be angry at such tripe. Amy asks her not to be angry. We were frightened, says Liz. Amy chides David for not thinking of everyone else; he apologizes, sincerely, to his aunt. Liz, proud of his obvious feeling for Amy, says they're safe, and it's all right. Barnabas, puzzled, asks, "If the two of you were out in the open field for such a long time, it's odd no one found you." Amy says, we weren't there all the time, and I have to keep where we went David's secret. David admits they went to one of his secret hiding places, and if they really must know, he'll tell. Liz says he doesn't have to do that, but insists David give his word that it will never happen again.
Barnabas easily disarms Jenny, taking the knife away from her. She cowers against one of the columns, fearing he will kill her now. He assures her he won't do that, takes the knife and tosses it into the fireplace. "No more knife," he assures her. Quentin is going to hurt me, says Jenny. No he won't, says Barnabas. Why is he coming here? she asks. He kneels and tells her, "You know why--because he's in love with you--there were other girls, but he married you." Yes, she says joyously, in a church (imagine Quentin taking vows in a church!)--when is he coming back? As soon as he can, says Barnabas--you must be ready for him. I don't understand, she says. Wash your face, comb your hair, put on a pretty dress, to show Quentin how beautiful you are, urges Barnabas. Yes, I'd like that, she agrees. Barnabas leads her upstairs.
Someone knocks--Carolyn. Thank God you're here, he says. She asks, what's wrong--Megan said you were terribly upset when you left the shop. Please, he begs, listen carefully because there isn't much time--there must be some way to get out of here. There is a way, she says, and holds up a check--it can take us anywhere we want to go.(http://www.dsboards.com/epimgs/0906-3.jpg)Seeing it's for five grand, Paul remarks, they must be very anxious to get rid of me. Oh, yes, she agrees. So typical of the Collinses, he says--want just a little extra for their money, to prove I came back for that money and nothing else. Carolyn gazes at him hopefully. Again, Paul hears Alex chanting his birthday song in his mind, over and over. Paul is nervous. The check could make all the difference, he admits, but if I take it, it will ruin you and me, and I don't want that. He tears up the check. Carolyn falls into his embrace.
1001
Alexis enters the tomb (they play some really scary music here) and opens her sister's coffin. She looks down at the seemingly slumbering visage of Angelique and wonders, what was your secret? She touches her arm--why do you still look as you did in life?--I only know that it is wrong--it goes against the natural order of things--I don't want to do what I have to do now--Quentin and Cyrus are right--your body must be destroyed.(http://www.dsboards.com/epimgs/1000-4.jpg)The woman in the coffin opens her eyes and, with a slight smile, says, "My dear Alexis, you are always so right--someone must be destroyed--but it won't be me--it will be YOU."
Drawing room - Quentin repeats, "The night of the sun and the moon." That's all Carolyn wrote, explains Barnabas--I'm sure she meant tonight. What do you think we ought to do? asks Quentin. Julia has gone upstairs to see if the children are all right, says Barn, but I feel they should be gotten out of Collinwood immediately, for their safety. Impossible, says Quentin, pouring himself a drink--I may believe that, bit Elizabeth never will. She must be made to understand, insists Barnabas. Quentin downs a healthy swig. Are we to stand around waiting for the second clue to take place? asks Barn. What would that be? asks Q. Again, it's cryptic, says Barnabas, says an unfinished horoscope. Barnabas, says Quentin, are you sure of that? Yes, says Barnabas, positive. Do you know why Liz won't send the children away? queries Quentin. Because she doesn't want to frighten them, guesses Barn. . More than that, says Quentin, she is convinced that for the remainder of the year, nothing will go wrong here at Collinwood. That's a rather dangerous assumption, opines Barnabas. She's convinced of that because she just had an astrologer draw up her horoscope! reveals Quentin. Barnabas regards his cousin with alarm.
Leticia prepares to go to bed. Desmond knocks on her door and she pats her hair and squeezes red into her cheeks, prettying herself up. He anxiously asks her if she took something from the drawing room. What are you talking about, Ducks? she asks. He reminds her she told him to get rid of the head. It's gone? she asks. Yes, he says, and if you didn't take it... If I didn't take it, what? she asks. He swears that he won't blame her, he knows she did it because it frightened her, and he appreciates that, but she must tell him if she has it--please don't lie to me!(http://www.dsboards.com/epimgs/1127-1.jpg)Leticia assures him she'd tell him if she had it--he'd make her tell him the truth--she could never lie to a man as nice as he is. He's very upset, and she tells him it's for the best that it's gone--it was changing him, it was evil--don't try to find it, don't ever try, she begs.
What happened to Stella Young? asks Melanie--why isn't she here anymore? She wasn't happy here, so she left, says Julia. Why did she leave us so abruptly? asks Melanie. Why are you so concerned about Stella? asks Julia. I'm not concerned, just curious, says Melanie, it seems so odd--she was Mother's secretary for such a short time, then just vanished. Vanished? asks Julia--she left. Did she leave a forwarding address? asks Melanie. No, says Julia. Isn't that rather unusual? asks Melanie. Julia rises--why are you asking all these questions? asks Julia. I told you, I'm just curious, says Melanie. There must be a reason, says Julia--does it have anything to do with that man?--Kendrick Young--has he been on the grounds, have you seen him? Melanie turns away and lies, "No, Julia." I hope you're not lying to me, says the older woman, it's imperative that if you see him, you must tell me. I haven't seen him, I swear it, says Melanie. I hope you haven't seen him, says Julia, but if you do, you must not talk to him. Why does he upset you so? asks Melanie. He doesn't, says Julia, he's just a troublemaker, arrogant and unreasonable--he will never be welcome in this house.(http://www.dsboards.com/epimgs/1203-3.jpg)I will remember that, says Melanie.
I'm just as anxious as you are to find out how he managed to slip in the water and drown, says Roger--and that's what happened you know--don't make it any worse than it is! A man who's been around boats all his life just slipped and fell in the water? asks Burke. There is no evidence to the contrary, says Roger. Evidence!--I'd rather rely on my instincts, says Burke. Why should I kill Malloy? asks Roger--he was a friend of mine--I had no reason to want him dead. You didn't? asks Burke--Malloy set up that meeting to force Sam Evans to state that I was NOT driving that car the night the man was killed. "Burke, you make me sick!" says Roger.--"How long are you going to hang on to that ridiculous story?" And if I wasn't driving the car, you were! shouts Burke--you should have served that sentence, not me! I must say, says Roger, I've been completely wrong about you. I'm glad to hear that, says Burke. I said that you served five years in prison, and that it hadn't done you any harm--now I see that it has--it's driven you insane! I still have sense enough to say that you were the only one who had a motive to kill Bill Malloy, says Burke.
(Opening scene of Carolyn, Roger and Vicki in the drawing room and Jason eavesdropping on their conversation not summarized.)
Barnabas sits down, looking exhausted and discouraged. To his horror, Jeremiah's ghost appears to him and warns him that he, his murderer, had better not marry Josette, or he will haunt them for the rest of their lives! Barnabas tries to assure the apparition that he's marrying Angelique, but Jeremiah knows Barnabas still covets Josette, and he'd better remember his warning. . .(http://www.dsboards.com/epimgs/0394-3.jpg)
Barnabas searches, meeting up with Julia. You shouldn't be here, he says, you can't stop me. He can't think in this situation. When he gets Adam back, what will he do? Stronger chain? Another helper? Let him disappear, begs Julia. Rain pours down as Adam hears their voices. Barnabas wants Julia to go back to the house--I must find and kill Adam--I've known it all along but couldn't face it--Adam is too dangerous, and I worry what will happen to the creation if anything happens to me
Judith enters the drawing room, looking around to see who is there, but sees no one. Then she hears a wild giggle. It's Jenny, looking for Quentin. Judith tells her Quentin is far away. Jenny accuses her of lying. I'm not, insists Judith.(http://www.dsboards.com/epimgs/0744-2.jpg)Yes, you are, and Laura lied to me, too. That's all right, says Judith. I know Quentin is at the Old House, says Jenny, and that's where I'm going. Quentin will be gone for a long time, says Judith, and you must go back to your room. No, says Jenny, raising the knife. Judith, horrified, orders her to put it down. "Put my knife down?" says Jenny. Before you hurt herself, cautions Judith. I'M not the one who will be hurt, says Jenny--not anymore. She approaches Judith with the knife, backing her towards the wall. Judith doesn't notice when Jenny grabs a candlestick holder; the redhead hits the brunette over the head, knocking her unconscious on the floor.
Collinwood - I want something from you, Julia tells Paul. You're the only one in this house who does, says Paul ruefully. Perhaps you are disturbed without reason, she says, but I think there is one--what story was it that you couldn't tell the police(http://www.dsboards.com/epimgs/0907-3.jpg)--if you know why Barnabas is acting in this bizarre manner, you must tell me! You don't waste time, notes Paul--you come right to the point. I hope you will, too, she says. You are the answer, says Paul, when I think of what a terrible judge of character I am...I thought you were...anyway, this Barnabas, he's connected with some group, an organization, and they are going to... Paul looks up to see Barnabas has entered the room.
He opens the doors. Angelique is there; he's stunned that the room has been restored. What is it? she asks--nothing's changed... What do you mean? he demands. You look as if I've completely rearranged the furniture, she says. He describes what happened before--I saw Daniel and Amy, wearing clothes I'd never seen before, discussing Barnabas(http://www.dsboards.com/epimgs/1003-1.jpg)--then I heard them again, but this time saw them in the hall--and I wasn't hallucinating! My dear Quentin, she says, I was here all the time, you must admit the strain you've been under. I don't like to admit I'm the kind of man who strain could affect, says Quentin--at least not that much--so many strange things have been happening around here. Yes, I know, she says meaningfully.
Sam tells Gerard this has been the most painful and difficult decision she's ever had to make. I'm quite aware of that fact, he says, I don't envy the choice you have to make. She says she believes he knew from the beginning, didn't he? Yes, he says reluctantly. She says he knew, as she did--it was only a matter of facing up to the realities of the situation.(http://www.dsboards.com/epimgs/1128-1.jpg)Well it's done and you mustn't regret what you've done, he says, assuming he is not the Chosen One--we've actually know each other for such a little time. I feel as if I've known you all my life, she says passionately. Nevertheless, he says, I feel strongly that a woman must stay true to her first love. Sam believes that, too--"That's why I've chosen you, Gerard!" You've chosen me? he asks, genuinely surprised. You thought I'd decided on Quentin, she realizes. Yes, he admits, I did. And you were ready to bow gracefully out of my life? she asks. Yes, I was expecting the worst, he says. Oh, darling, she says, hugging him, I could never have sent you away, you are my own love and my first love. He looks sick.
What is it you want me to tell him? asks Vicki. The truth, of course, says Roger--that I left the house at 10 of 11. I don't know when you left, says Vicki, I didn't see you go. That's a pity, says Roger, still, if we did discuss your dinner engagement until 10:45, surely you believe it took me at least five minutes to get my business papers together. I suppose it must have, says Vicki.(http://www.dsboards.com/epimgs/0066-3.jpg)That's all I want you to tell Burke, says Roger. Very well, she says. Roger stands, smiling.
She starts to go upstairs, but notices the basement door ajar. She heads down there, but Jenny is no where to be seen. She must have opened the door, muses Magda. Did she see the coffin, open it? Is he all right? She herself opens the coffin. Barnabas is asleep, unharmed. Hearing Jenny crying, Magda closes the coffin. She finds her sister huddled against a wall, sobbing for Quentin.
Foyer - Naomi stops Barnabas and Angelique as they are leaving. Barnabas fears repercussions should Joshua find them still there, but Naomi invites them into the drawing room and gives them with the Old House, which she owns, as a wedding gift. Barnabas, moved, wants to refuse; Angelique is clearly thrilled. Oh, Joshua will rage and rant, says Naomi, but she's used to that. Barnabas is all set to refuse, but she asks him to accept the house as a favor to her. Joshua will come to his senses, regret what he's done, and seek Barnabas' forgiveness; she doesn't want Barnabas to be far away and unreachable when that happens, or it will kill Joshua. Barnabas accepts, agreeing to stay on as master of the Old House, for his mother's sake.(http://www.dsboards.com/epimgs/0395-3.jpg)
Tony, upset about Carolyn's kidnapping, appears at Collinwood and offers Liz his help. The cops have been there and gone, and are out searching. She wonders where the man took Carolyn. Tony asks about him. He's a mute giant, says Liz, not from another country, but. . .she says he's just some monster from. . .well, she doesn't know. He's not human, she says.
I am ashamed you arrived a short time knowing nothing about us, says Judith--now you know the worst. I'm not here to make judgments, but to help, he assures her. Why did you keep her here, she asks, instead of sending her back to us? I didn't know the story, he says, I was trying to decide what to do when I was called away--I'm very concerned for this poor, unhappy woman and her children. There are no children, Judith hastily tells him. She talks of them, says Barn. She's mad, says Judith. It isn't what you and Edward are going to do, says Barnabas, but what JENNY is going to do. She would kill us all, says Judith, we will have to face a public scandal and send her to an institution this night.
Hospital - Grant sits in a chair near the window. Julia closes the blinds, holds up her medallion, and says, keep looking at it until I snap my fingers. She twirls it, urging--look at it deeply, deeper and deeper, until you see the center of the stone. I can see it, he says. Look for another center, orders Julia, and another--can you see it? Yes, he answers, I can see beyond what I saw before. Deeper and deeper, to the center of the stone, she whispers. He stares. As far as you can go, she encourages. I can go no further, he says. Look inside yourself, she says--who are you? "I am...I...am..." he falters. What's the matter? Asks Julia. I don't know, he says. "Who are you?" she asks again. His face twists; he utters a sound between a scream and a sob: "I DON'T KNOW!" I am waiting, says Julia severely. So am I, says Grant. Why are you waiting? She asks. I'm waiting to leave, I must go away from here, right now... No, says, pushing him back in the chair, you cannot go. I must, insists Grant. Why? she asks--did you do something wrong? "I must leave here, I must," says Grant. Why?--try to remember why you must leave, says Julia. Because of HIM, says Grant. Who is he? she asks--who are you? I can't answer that, he says desperately, licking his lips.
Melanie, says Julia, there is no one in that room. I can't stand anymore secrets, says Melanie, and rushes to open the door. Stella sits in a chair, bound and gagged.(http://www.dsboards.com/epimgs/1204-0.jpg)Melanie runs to her and removes the gag--Julia, why are you keeping her here? asks Melanie. That's no concern of yours, insists Julia. Melanie, help me! begs Stella. Why did she put you in here, Stella? demands Melanie. Mr. Justin Collins, answers Stella. Papa had nothing to do with it, I know that, says Melanie. But he did, says Julia.
Willie tells Julia his dream, biting his knuckles, his face contorted with horror. The last door held a snarling dog, and it would have ripped him to pieces.
Quentin listens to his music, the throttling rope gripped in his hands. The music grinds to a stop, the clock chimes. Quentin starts it over again. It hasn't worked, notes Barnabas. Are you giving up? asks Quentin. It's been over half an hour, Barn points out. Q tucks the rope into his pocket and asks, are you tired of listening to the music? "Frankly, yes," says Barn, smirking. It soothes me, says Quentin. Barn figures Jenny isn't in the house. Judith and Beth hurry in. Has she left the house? Asks Beth Is she gone? asks Judith. Where? wonders Beth. Barnabas asks about Laura. Judith suggests, Barnabas and I will look in the cottage. Judith orders Quentin and Beth to check the West Wing again. Judith fears Jenny has left the estate, gone to the village, and tells Barnabas, we must find her!
Liz tells Vicki that Carolyn is dead or soon will be. Vicki argues this, wishing she could be of more help. The phone rings and Liz races to answer it. It's the sheriff--they've got the kidnapper, but he apparently isn't talking about where he's hidden Carolyn. Liz relays all this to Vicki. They've been questioning the man, who was caught in front of the Old House, endlessly, but can't get a word out of him.
Barnabas reveals what Chris said, about seeing a stranger staring at the house--a figure from another time. Quentin? she asks, explaining to Chris and Barnabas how she heard David say that name after he'd claimed to have fallen--he kept murmuring that name.(http://www.dsboards.com/epimgs/0695-2.jpg)I found a Quentin Collins in the books I was looking through, says Barn, and shows Chris and Maggie a photo album to see if they can identify the man. Barnabas reads that Quentin was born 1870, date of death, unknown. Chris and Maggie locate the photo of Quentin and show it to Barnabas. It's captioned: "Quentin, just before he left for Paris." Chris and Maggie say he looks the same age as in the photo, so Barnabas figures he died shortly after going to Europe--why didn't we know this, and why is his spirit haunting Collinwood now--and why has he decided to possess the children? Why?? Quentin stares back at them from the photo, implacable.
Tim is knocking at the Old House door, asking for Barnabas. He isn't in, says Magda. I must wait, Tim says--when is he expected? Come back tomorrow night, advises Magda. Could he be at Collinwood? asks Tim, I must speak to him about Miss Drummond--I'm a friend of hers. Magda lets him in. He explains, we used to teach at the school together. Magda says I know Trask sent you.
You're going to hear a knock at the door, says Stokes, but you won't be frightened-because I will be the person knocking--you will expect to see me in your dream, and you will--understood?--repeat it, orders Stokes, and Carolyn does. If for any reason I'm not, says Stokes, you will immediately awaken. Julia and Stokes lead the entranced Carolyn into Josette's bed, where she lies down. When he says the word, she will close her eyes and sleep, says Stokes.(http://www.dsboards.com/epimgs/0507-3.jpg)Julia anxiously asks if it will work, and Stokes says they must hope so-he isn't fond of wasting time. Carolyn dreams. When the knock comes, she asks who it is, but there is no answer, so she glides over and finds Stokes.
David and Philip go to Maggie's room. The room looks exactly as it did last night, says David, when we were in here. Both you and Michael were in here? asks Philip. Yes, we were fooling around in here before Michael went home, reveals David. Michael never went home last night, says Philip. This shocks David. He obviously sneaked back here after you'd gone to bed, says Philip. But your room is just down the hall, notes Philip--if he'd tried to lure Maggie out into the corridor, you'd have heard them, right? Yes, says David. Then she must have gotten out of here another way--how, David? I don't know, says David. Is there another way out of this room? asks Philip
At Cyrus' lab, Quentin asks his doctor pal, answer just one question--am I losing my mind? Don't be ridiculous, says Cyrus. Then why did I slash Maggie's portrait last night? asks Quentin Any number of things, says Cyrus--don't forget the strain you've been under lately. I may have been caught off-guard by meeting Barnabas Collins, says Quentin, but that's no reason to... Cyrus interrupts, asking about his meeting with Barnabas--the man we've been discussing in the empty room? No, says Quentin, he's a distant cousin descendant of the first Barnabas--just turned up the other evening--he's staying with the Loomises. Cyrus raises his eyebrows: "Oh?" Quentin wonders why the surprise. Cyrus quickly says no reason, nothing. Quentin looks weary as hell. Cyrus asks about Will--no one knows what he's up to. Cyrus realizes, I was Yaeger when I saw that coffin in the basement of Loomis House--I can't tell Quentin what I know, and he must forget what Yaeger knows. What is it? asks Quentin, irritated. I was just trying to analyze why you slashed Maggie's portrait, says Cyrus
Josette is only too aware of how close Barnabas and Jeremiah were before she came into their lives. No, Jeremiah says, he begged her to elope, they shared some kind of madness--but not love. If she still loves Barnabas, she says, she won't even admit that to herself.
On the landing, Liz tells Shaw, I'm just as concerned about Maggie as you are--even more so, I think--but she's getting the best of care. I'm sure she is, says Shaw, but could you please just ask her if she could see me for just a moment? I'm sure she will when she feels better, Liz assures him, and starts going downstairs, Shaw behind her. When Maggie is better, says Liz, I want you to do her horoscope--I've become quite a believer. I'm glad to hear that, says Shaw. I can't believe I ever discounted astrology, says Liz, oh there's a fascinating book you must read, it's in the study, I'll go get it for you. Carolyn exits the kitchen, listening, and joins Shaw. "Why don't you tell her the horoscope is false?" she asks--"Why don't you admit that it's all a lie?" His eyes nearly bulge out of their sockets.
Barnabas and Julia get into an argument over David's fate. She wants him to wait 15 minutes for an injection, but he is impatient to get to Collinwood to find out where they've been so he can conduct his own search for David. Julia does not want Barnabas to harm David, but he reminds her that she has as much to lose as he does. Barnabas is sure Sarah has told David about him.
the whole place will go up in a few minutes.(http://www.dsboards.com/epimgs/0191-2.jpg)"That's right, Vicki," says Laura, "in just a few minutes." But you'll burn, too! cries Vicki. That's right, smiles Laura, I will, that's why I'm here, why David is here, the fire will consume everything and everyone. Vicki tries to open the boarded-up window, but without success. (This is where this episode annoyed me--why didn't Vicki toss something through the window? I would have, but she just keeps pounding ineffectually at the window, very wimpily, too.) Tell me the legend, Laura again bids her son. David says that the phoenix lives in paradise, and every 100 years, it decides it must go to a very special place, so the phoenix gathers up all the herbs, spices and flowers and goes to find a new place. Vicki screams, "Mrs. Collins, you can't do this!" and Laura triumphantly retorts that she isn't Mrs. Collins, she's Laura Murdoch. Vicki repeats it, and Laura says surely, she knew what to expect. But not this, protests Vicki, it's so horrible! Laura replies, nastily, it's the only way, you should know it by now, you and your doctor Guthrie
Collinwood drawing room - Quentin tells Daphne she hasn't looked at him since he came into the room--why? There's so many reasons, she says. Has Gabriel told you anything? asks Quentin. Holding herself, she says you must beware of him, he hates you so. He doesn't hate me, says Quentin, you just don't understand about Gabriel and me. I don't understand very much, she says, I don't know what to believe here. Yesterday, what I told you, he says, putting his hand on her arm, you can believe that. Don't touch me, she says, moving away.
Burke started with nothing and built it up to a fortune, but he's not content--he wants more, because when you start with nothing, you'll always want more--I wish I could handle his bank account. I'm afraid you haven't a chance, says Carolyn--Burke seems to travel with his own banker--I met him today at lunch--a Mr. Blair. Blair? Asks John. Yes, from New York, says Carolyn. Are you sure? asks the banker, getting off the couch and standing in front of her. Sure about what? she asks. This man, says John, this banker from New York, his name is James Blair?(http://www.dsboards.com/epimgs/0044-3.jpg)Yes, says Carolyn, James Blair. I must talk to your mother about this, says John. Wait a minute, says Carolyn, my mother's already bawled me out. This has nothing to do with your lunch date, honey, he says--I have to talk to her about James Blair. Oh, do you know him? asks Carolyn. Yes, I had no idea he was working with Burke Devlin, says John. Carolyn looks as disturbed as the banker.
Julia, says Flora, I should be looking for Morgan; perhaps I could talk to him. We must check on Melanie, says Julia--if she's all right, the curse will be over. I only hope she is, says Flora fervently. They enter the tower room and look down on Melanie's placidly sleeping face.
my Pansy is a wonderful girl, he says, beautiful, refined, cultured--she's English, and just disappeared, he says unhappily. He suggests they return to Collinwood. Tim says he'll join him in a moment. After Carl leaves, he picks up a scarf from the purple piece of furniture and suddenly hears Pansy' singing her song. He listens. The curtains blow in, and he's afraid. Pansy's ghost appears before him.(http://www.dsboards.com/epimgs/0777-3.jpg)Who are you? he asks, where did you come from? You aren't the one I'm looking for, says Pansy--I have so little time, I must find him. Barnabas? he asks.
David and Amy hear the music coming from behind a paneled wall. David knows of no room behind there, but the music gets louder. Why is Quentin playing it? It might be a message that he's behind that wall, says David--perhaps we have to go to him. We can't go through a wall, protests Amy. David knocks on the wall, listening for hollow spots. The wall isn't solid, David explains.
...
Amy and David hear the music fading away. David muses that perhaps Quentin told them all he wanted them to know--that he's behind the wall. Why won't he appear to us? asks Amy (hey, this scene is a repeat of the one we just saw! A blooper). David tells Amy the wall is covering something up, and she wonders if Quentin is behind it. Something is, states David.
Paul grows sleepy. The empty glass of milk is on the tray. Liz and Mrs. Johnson enter the room. It didn't take long, says Liz. No wonder, says Mrs. J., with all that medicine in his milk. It had to be this dosage, says Liz, we needed for him to take that much before moving him. Are we doing the right thing by him? asks Mrs. Johnson. My doubts were erased by Mr. Barnabas, says Liz. It still seems a little drastic, says Mrs. J. I can't take a chance on Paul getting away, upsetting Carolyn again, says Liz. No, we must not have that, agrees Ms. Johnson. Go up to the tower room and be sure everything is ready, orders Liz--I will wait for Barnabas--when he gets here, we'll move him. One more thing, adds Liz--don't say anything to anyone about this--I'll handle it, with Barnabas' help. Of course, says Mrs. J, and leaves.
Carolyn decides to get Stokes, bring him here, assures Adam he isn't angry--stay-and don't leave before I get back, she says. "Stay with Adam," he begs, grabbing her in his arms. I only want to get you help, she says. He gazes into her face, sure she won't come back, but she promises she will, and he must believe it and let her go. He trustingly opens the door to allow her to leave, a touching moment indeed.
Vicki enters Angelique's room and is puzzled to find the toy soldier and Barnabas' handkerchief. When Angelique comes in after her leaf-gathering expedition, Vicki asks the blonde what she's doing with these items. Angelique has no idea--Sarah must have brought them in here. She visits periodically, and Angelique likes the child. Vicki is all set to either scold or talk to Sarah about leaving the items in Angelique's room, but the latter talks her out of it(http://www.dsboards.com/epimgs/0372-3.jpg)--if she gets into trouble for leaving those things in Angelique's room, she might not visit her anymore--would Vicki just quietly replace the items and keep silent? Vicki agrees, accepting Angelique's gratitude, then leaves. Angelique ponders what a close call she had
Julia, startled, says, I don't know what you mean. Don't you? asks Ang--you've been carrying on this deception for quite some time now. Deception? queries Julia, and one can only imagine how hard her heart is beating right now. What have you done with Hoffman? demands Angelique. You've made a terrible mistake, insists Julia, I AM Hoffman. No, says Angelique, I knew that you were acting strangely for quite some time, but I didn't get suspicious until I went into my own room tonight--and there I saw two people from the other time, the time Barnabas Collins came from--I saw Quentin and Maggie and they were saying that Dr. Julia Hoffman had come to this time--then very suddenly, everything you had been doing began to make very good sense. If I've changed, says Julia, it's only because I've become so frightened about how all this will end, and what will happen. You've changed because you've begun to help Barnabas Collins! accuses Ang. I'm not helping Barnabas, Julia assures her--I swear it. "What have you done with our Hoffman?" repeats Angelique. I swear I am Hoffman, insists Julia, the one that was loyal enough to believe you were coming back(http://www.dsboards.com/epimgs/1053-1.jpg)--"I alone believed that," she points out. Ang walks away. If I were this "Dr. Hoffman," would I be here pleading with you? asks Julia--how can I prove to you that I AM your servant? You don't have to, says Ang, because I do believe what you're saying is true--I'm sorry I had to put you through that ordeal, but you have to understand that after I saw those two people in the room, I had to find out if anything had happened to the one person I knew I could trust. Yes, says Julia, obviously (to us) relieved, I can understand how you must have felt. I didn't want anything to have happened to you, adds Ang--"You're so very valuable to me." Thank you, says Julia.
Quentin sits in the parlor, thinking. Daphne comes in--I must talk to you, she insists. Anytime, he says, but I don't like the look on your face. You aren't going to like what I have to say either, I'm afraid, she says severely. Speak right up, he urges. I know all about the lottery and the locked room, she reveals. Just what in God's name did your sister tell you? asks Quentin, immediately furious. It won't do you any good to get angry, says Daphne--I know about it and that's all there is to it. No, my dear, that's not all there is to it, says Quentin. Catherine has pledged me to secrecy, says Daphne, and I wouldn't do anything to upset her--your family secret is safe--but I've come to you because I don't know who else to go to. Just what are you talking about? asks Quentin. My sister can be very stubborn about certain things, says Daphne--I have urged her not to come live in this house, but she's refused to listen to me, so I want you to promise me something--Catherine says the lottery will take place after she and Morgan are married--I want you to promise me you won't allow her to become involved in it. Quentin shakes his head--no, I can't make that kind of promise--if Catherine marries in the family, she becomes part of it, and must abide by all decisions made by the family--if it is decided everyone will take their chance in the lottery, Catherine will be one of those.
The judge orders Dawson to call his first witness. If it please the court, says Dawson, the prosecution had intended to call as its first witness Mr. Lamar Trask, whose testimony is considers vital to this case--however, I should like to postpone Mr. Trask's appearance in favor of another witness, one who came forth this morning with information I feel may expedite a decision in this case--Samantha Collins. Objection! Shouts Desmond--under the law, she cannot take the witness stand! May I ask why not? queries Dawson. You know very well why not, says Desmond, she is the defendant's wife--and he would have to waive his constitutional rights--and he will NOT waive them! The estate would point out to the counselor that the law which applies here pre-dates the constitution by almost a hundred years. The judge tells Desmond there is nothing in the law that states a wife may not testify against her husband--there is, indeed, ample evidence that in trials of this nature, wives were allowed to take the witness stand. Your honor, may I have a ruling? Demands Desmond. Your objection is overruled, says Judge Vail--the tribunal calls Samantha Collins. She enters the courtroom and Quentin stares at her with hatred. She is sworn in on a bible and swears to tell the whole truth. Dawson asks her how long she's been married to the defendant. Almost 16 years, she says. How long have you known for an absolute fact that Quentin Collins indulged in occult practices.(http://www.dsboards.com/epimgs/1165-3.jpg)For as long as I have been married to him, says Sam. Desmond has his fist pressed against his forehead, and objects, insisting he wants the term occult practices defined. The judge tells Desmond the court would interpret this phrase to mean any act of witchcraft or sorcery perpetrated against another human being. Desmond says the defense is very happy with that definition, and thus asks the prosecution to re-phrase the question. The judge tells him to do so. I withdraw the question, says Dawson--Mrs. Collins, I know you must have searched your conscience long and hard before deciding to take the stand against your husband--will you tell the court specifically what brought you to this decision? My husband has always dabbled in the occult, she says, even though he's been repeatedly warned not to do so by his own father. Objection, says Desmond, the witness is not giving a direct answer to the question. Sustained, says the judge--Mrs. Collins, the counsel for the prosecution has asked you to testify to a specific incident--please do so.
Laura and I were talking abut David, says Liz, and I think you ought to hear what I have to say. I'd like to, says Roger. I think Laura's presence here is disturbing to David, says Liz. Now really, Liz, objects Roger. His behavior and nightmares...begins Liz. That child has always misbehaved, says Roger, and had the worst possible dreams imaginable, for David, it's running true to form. I insist there's something different about him this time, says Liz. I'm sure I know what's at the bottom of this, says Laura--that painting. What painting? asks roger. That horrible thing Sam Evans did of me, says Laura. You mean the one of the fire? asks Roger. Yes, David has it up in his room, says Laura. What's it doing here? asks Roger, annoyed. It was given to him, says Laura. And it's affecting him, says Liz. I called Evans every name in the book when I saw that painting, says Roger. And it's pointed up something, says Liz--something we must all consider carefully--the relationship between David and Laura isn't progressing--in fact, it's worsened. That is not altogether true, says Laura. It seems to be they're getting along very well, says Roger. That's because you haven't paid close enough attention, points out Liz. It's because of that painting, says Laura, it's frightened David, caused him to have nightmares--it's got to be taken away from him. I'll take care of it, Roger assures his wife. The curious thing is, David wants it, says Liz. Not curious at all, knowing David, says Roger. Another thing, says Laura--Sam has started another one, almost exactly like the one in David's room. Evans has gone absolutely mad, says Roger. I consider it a deliberate attack against me, says Laura--I want you to do something about it. I will, says Roger, rising--I won't have him doing these insulting paintings.
He opens the doors to the PT room and sees Catherine standing there, looking solemn. It's obvious that Barnabas is thinking how much she resembles Angelique. A door opens. Bramwell Collins, son of Barnabas and Josette, enters. I have come back, as I promised I would give years ago, he says. Overcome with joy, she says his name. Catherine, he says, my Catherine--they rush together to share a long kiss. No, she says, pulling away, this is insane! What is it?--you're happy to see me? he asks. She hesitates, not replying. For the love of heaven, he begs, tell me what's wrong. You've been gone five years, she says, did you expect me to stay the same? In the doorway, Barnabas listens closely. I expected your love to stay the same, says Bramwell, as mine did--you know what we mean to each other--so I came back to marry you! No! she says, you can't--I'm going to marry Morgan Collins. What? asks Bramwell, totally blown away. Morgan has asked me to marry him and I've agreed, says Catherine. Look at me, commands Bramwell--LOOK AT ME! She does. You love me, tell me that you love me! he demands passionately. No, she says, her face showing how torn she is. You don't love Morgan, you love me, insists Bramwell, as I love you!--that's the way it should be--he pulls her into his arms--that's the way it always has been--you and I--Catherine and Bramwell--there's no other way. I'm sorry, she says, withdrawing from of his embrace. I won't listen to you say you're sorry, he growls, I will not let you destroy both our lives. There's no point in putting yourself into one of your vicious tempers! she retorts. I will show my temper when I see Morgan, he vows. There's no reason for you to see Morgan, she says. I have every reason to see Morgan, he says--I would like to kill him. Oh, you haven't changed, she says with a bitter smile--no one could ever talk to you when you were angry. How did you expect me to react to what you just said? he demands. I expected you to listen to me while I try to explain, she says. I'll listen, he agrees. When I made the decision to marry Morgan, it was a very difficult one, she says--you know how I've always felt about you--how I still do feel--but I also know the kind of life I want--and I know the two of us could never find it together. But you and Morgan will? he asks. Yes! she says. You are telling yourself lies! he says, we belong to each other! No, we're too much alike, she protests, we'd destroy one another--and we could never find the kind of stability I must have if I'm to be happy.
"Malloy a suicide?" Roger asks, crossing his arms and looking almost jolly. "Well, I must say, that never occurred to me." Liz says she doesn't think so, and Patterson agrees he doesn't think Bill the type to take his own life--but as he said, they can't overlook the possibility. Roger says the more he thinks about it, the more possible it seems. What reason? Liz asks, and Roger points out that Bill knew she was trying to get Ned Calder back into the company. Liz insists Bill was delighted at the prospect. "But that isn't necessarily what he thought," Roger theorizes. "He had given his whole life to the Collins enterprise, he might very well have been depressed at the thought of being demoted after all the years of faithful service. He may have brooded over it until, well, his mind snapped." Liz says Bill was much more interested in the fishing fleet than he was in the business end of the company," Liz insists.
Why did Jenny come to your room in the first place? Queries Edward. I don't know, answers Beth. What are the clothes doing on her dresser? He asks. I was taking them into the village, to the children, says Beth. Yes, says Edward, Jenny's children. And Quentin's, too, Beth reminds him. "God help them," says Edward, "she must have seen them here." Yes, agrees Beth, sobbing--Quentin doesn't know, I'm sure. He orders her to get rid of them--and when you're finished doing that, get rid of the knife and fix the cut on your face--you did it by accident. Beth touches the scratch and tries to talk to him, but he commands her to just get busy--much to be done, little time to do it. Beth puts down the knife, touches the baby clothes, and cries her heart out..
She finds Angelique waiting in the drawing room. Nicholas will be angry when he learns I lied to him says Eve. Don't tell him, suggests Ang--you were just merely mistaken. Ang searches for a special medallion used for this purpose, and finds it, a gold disk, in the desk. Ang turns out the lights, which she explains is necessary for the ceremony. She closes the doors, has Eve sit in a chair, takes the medallion in her hands, and tells Eve, you won't even know it's happening--you only have a limited time, six hours, then you must return--you must find what you need in that time or you won't come back at all. Eve understands. Angelique tells her to relax and look at her. Their eyes meet, widen; Ang holds the medallion before her, addressing the powers of time and space "for one who wishes to return to another time and place."(http://www.dsboards.com/epimgs/0622-4.jpg)Her mind is suspended now, free of all things present, chants Ang--"waiting to be guided back and given temporary refuge in the past. She is waiting, she is waiting! Take her back to the year 1795!" Eve disappears. Angelique looks impressed with her handiwork.
Dave puts away the equipment and takes back the slide, explaining that he hopes to find similarities in Willie's blood and Maggie's, and would then more closely investigate Willie. Barnabas warns Woodard to be careful--the man who broke into his office had great strength, after all.
I don't think we have to worry about Uncle Roger, says Carolyn, moving he drink in circles--he's much more concerned about other things right now--I think he's interested in Vicki, seriously. Burke pops a cigarette into his mouth, but takes it out to ask, "What makes you say that? He wanted to know where she'd gone this afternoon, just because she had some errand in town--he couldn't even wait for her to come home, he went driving off right after her." Burke lights his cigarette. Roger and Vicki, that's an unusual combination, opines Burke. Not so unusual, really, says Carolyn, I guess they're both pretty lonely. So Roger went looking for her, says Burke. Yes, and the gunny thing about it was, she was right there in the house, says Carolyn, they must have just missed each other. Why was he so anxious to see her? asks Burke. You ought to know better than to ask me a question like that, teases Carolyn.
"Will you marry me?" he asks. Kitty's eyes grow huge. Does the idea terrify you, too? he asks. She considers a moment and says no, it doesn't, I understand somehow that it's what I must do, whoever I am. Then you will marry me? he asks. Yes, she says, as soon as possible. I'll arrange for the wedding this evening, he says, overjoyed. Yes, Kitty agrees eagerly. Wait until I return, he says. I'm afraid, says Kitty. No harm will come to you, he assures her. I hope not, says Kitty. He squeezes her hands, then leaves his bride to be. Kitty looks very uncertain.
Julia continues to swirl the medallion; Vicki calls to Barnabas, to Jeremiah, for help.
Where can he be? wonders Kendrick, frustrated, smacking his fist into his other hand--I've gone this far, I've got to find out--for Stella's sake!--he killed my sister and he must pay for it! He didn't kill her! says Melanie. What are you saying? asks Kendrick He didn't, she says, I just know it. Kendrick pulls her around to face him, demanding, "If Gabriel didn't do it, then who did?" I don't know, says Melanie, growing upset, but someone else, not Gabriel! Kendrick stares at her. Why are you crying, you must tell me, says Kendrick. It would take so long to list all the reasons, she says, and goes into his arms. I'm willing to listen, he assures her, no matter how long it takes.(http://www.dsboards.com/epimgs/1222-3.jpg)You are so good to me, she murmurs against his shoulder, so understanding.
Have you seen His Excellency? asks Aristede--he must be angry about the way I ran away, isn't he? You're wasting your time, says Tate--you can go grovel at the feet of your master--maybe he'll take you back--then again, maybe he won't! Afraid, Aristede asks--you go see Petofi and tell him I'm back, explain why I ran away--once you explain why, I'm sure he'll understand. Then why not explain yourself? asks Tate. I can't face him, protests Aristede--please do me this favor, you won't regret it. I have my own problems, says Tate--I'll see to it you're fed and get some nice clothes--and you do need all that--but as far as getting you together with Petofi and making things up, I draw the line. Tate opens his door--good night, Aristede.
All I know for sure is what the doctor told me, says Patterson, that the death coincided with the time on his watch--and it stopped 10:45. That was right after I left the house, murmurs Sarah. Now, about the time, says Patterson, you said that Bill received a phone call at 10:30--do you have any idea who that was from? Not the slightest, she says. Nothing he said gave you any hint as to whether it was a man or a woman? asks the sheriff. I'm not in the habit of eavesdropping, George, she says. I didn't mean that, he says, chastened. How did you expect me to hear anything, then? she asks. I guess I didn't, he says. Must have been a man, says Sarah--Mr. Malloy was shouting, you could hear even without listening.
Vicki runs down, painting in one hand--the painting, look at it! she cries, holding it up--it's finished. She balances it on the foyer table. I knew it! says Sam--I knew it! Look, says Carolyn. It's unmistakably David, says Roger. It was just hanging there on the wall with a strange glow of light around it! says Vicki.(http://www.dsboards.com/epimgs/0149-3.jpg)What does this mean? Roger demands of Sam. I don't know, says Sam. I saw this painting earlier this morning, says Roger, and it wasn't completed. Sam touches the painting. It's dry! he proclaims. (how he could tell through those thick bandages is beyond me.) What about it? asks Roger. The painting is dry--you couldn't have seen this empty space this morning, insists Sam. I saw it empty, says Vicki. It's oil, says Sam--it takes days for that to dry! How do you explain it? asks Roger, taking the painting into his hands and heading into the drawing room. I can't--I don't know what to say, says Sam. You must know something, says Roger, setting up the painting on a chair--you didn't just come here by coincidence! Sam stares at the painting. I don't know what it was, he says, I only knew the painting was finished--all day, I could see it going through my mind, see the empty space, see the lines coming in, I could see a face, but I couldn't make it out. Why is David's face in it? asks Vicki. What does that mean? asks Carolyn. It means that we're seeing the total representation of David's dream, says Roger--but I must know how it was completed! I can tell you how, says Sam, the power that started me on it, finished it! What power are you talking about? asks Roger. I don't know, says Sam. You don't know, you don't know, that's all you seem to say, rants Roger, there's got to be an explanation, do you hear, and I mean to get it! Sorry, says Sam, I can't think of any explanation except...weird sensations, that I was being used--to say something, to communicate. Who would be using you? asks Roger. I don't know, says Sam. When I was in David's room, says Vicki, I sensed something very strange, as though someone had been in there. What do you mean? asks Roger. There was a specific perfume in that room, says Vicki--jasmine. What about it? asks Roger. Mrs. Stoddard doesn't use it, says Vicki. I don't, either, adds Carolyn. Mrs. Johnson could hardly use it, remarks Roger (LOL!). It's not Mrs. Collins', either, says Vicki. That takes care of everyone, says Roger, who could be using it. I smelled that perfume once before,, says Vicki, when I was in the Old House, just after Josette Collins appeared to me. Roger harrumphs. Really, Vicki, you're as preposterous as Evans, complains Roger, I've had about as much of this painting as I can stand.
Sitting at the dressing table in Josette's room, gazing at her reflection, Maggie forced herself to remember just who she is--Maggie Evans, not Josette, daughter of Sam, and even though the sound of the accidentally-opened music box deterred her for a few moments, she kept her resolve firm.
Angelique realizes she has lost control over Jeremiah's ghost, and when he menaces her, causing her to cower against one of the pillars in the Old House drawing room, she orders him to leave her alone and not return until summoned. Barnabas returns to find her trembling, terrified, but she insists nothing is wrong. She tearfully asks if they have to live in the Old House--perhaps, given all the bad stuff that has happened, it would be better to start out somewhere else? That would make them appear ungrateful for Naomi's gift, protests Barnabas. She denies being afraid, but clearly is.
This whole business stinks to high heaven, opines the sheriff (love it!), and no one is above suspicion, including Barnabas. Barnabas asks what connection he could have with a vagrant, which is what he believes the man to be. The sheriff doesn't know anything but what he feels, and he won't let up on Barnabas until he tells him everything he knows. Barnabas feels he's making a big deal about nothing. The man kidnapped a member of your family, the sheriff says, but Barnabas says he believes Carolyn is quite safe. How do you know that? asks the sheriff, and Barnabas says it was something Willie told him. Ah, now we're getting somewhere, exults the sheriff. Not that Willie knows the man, says Barnabas, but the man did come to the house several days ago, looking for food. Willie felt sorry for the man and gave it to him. The man couldn't speak at all, and didn't understand what Willie said. Willie did mention Barnabas' name several times, which could explain how he knew that name. What did Willie say to reassure him that Carolyn is still alive? Asks the sheriff. The man seemed gentle, said Willie, but the sheriff points out all the opposing facts-the kidnapped woman, wrecked jail cell and broken-necked deputy--why didn't Barnabas come to him in the beginning? Barnabas explains that he feared being implicated somehow. The sheriff still isn't convinced he's not.
they have much to do. Amy agrees. He asks what's wrong. I wonder if we will do what HE wants.(http://www.dsboards.com/epimgs/0646-2.jpg)We must, says David
From Josette's room, Jenny looks out the window and spies Quentin leaving. She tries to open the window, growing more and more hysterical, and calls to him, "I'm here, Quentin, come back!" She tries the locked door, but can't get it open. Magda races to the door and starts to unlock it. Jenny accuses her, you told Quentin I'm dead, you let him go--I hate you! Magda opens the door and holds her sobbing, hysterical sister. Jenny falls onto the bed and tells Magda, I only want to see him. Magda promises her Quentin will come back, which comforts Jenny. "Then I can tell him," murmurs Jenny--"There's so much he doesn't know, he couldn't know--I must tell him myself, before anybody else does, then he will love me, he will, I know. . ."
I'm afraid, he says. Of what? she asks, scared. I'm beginning to feel so alone! Says Alex. Tell me what's wrong, begs Megan, sounding irrational as she touches and paws him--what's bothering you, I must know so I can know what to do for you! (there's a healthy mama)"
Hannah answers the phone and assures Angelique, I took care of "it" without problems, but we must be very careful. Angelique interrupts her and says, I don't want to hear about it--you must come to me, I need your help--I was right about Dameon Edwards. Hannah, clearly frazzled, says, I can't do anything about Dameon, his spirit is too powerful. You can do nothing, but I can, Angelique assures her. Then do it, says Hannah. And expose myself? asks Angelique--oh, no--even Bruno accepts me now--I don't plan to take any chances--they will think you exorcised the ghost--I will do it through you.
6 AM - Collinwood - Quentin comes downstairs and goes into the drawing room. Julia, who has fallen asleep in the chair, awakens. Joyfully, he says, it's over, the sun's up, it's morning. Julia is all set to go upstairs and check the children, but Quentin assures her, I've already been up there, and they are sound asleep-apparently, everything is all right. Thank heaven, says Julia gratefully. Collinwood never looked more at peace than last night, says Q. Perhaps something happened we don't know about, says Julia. Consider one other thing, says Quentin, Carolyn's cryptic warning about the night of the sun and the moon-perhaps it meant nothing at all. It was the last thing she did before she died, Julia reminds him-she wrote those clues. You said yourself Carolyn was mad, Q reminds her-perhaps the warnings of disaster came from that madness. Perhaps, agrees Julia, but there's one important thing we can't let out of our sight-this room was in ruins-the whole house was in ruins, everybody was gone except you and Carolyn, and you were both insane-I saw it, it was horrible-perhaps those clues aren't really clues, and we won't get anywhere with them, but we've got to try to prevent that total disaster and those clues are our only guide. Concerned, she leaves the drawing room. Quentin, grim-faced, watches her go.
Pacing, Desmond tells Quentin, "Poor Tim Braithwaite--his body was ripped from his head" (he means the other way around, I'm sure)--I know what happened and what caused it--Quentin, the body has somehow found the head. Quentin nods--Judah Zachary, he says. He's alive again, says Desmond. Quentin shakes his head, saying it's impossible--a severed head can't live--and a body buried 200 years ago must decompose. I came to you because you have an interest in these things, says Desmond desperately, you accept the fact of unexplainable happenings
Looking at her eager, anxious face, Morgan is thrilled--do you really mean it--tonight? Yes, she says, from my heart--she hugs him again. Oh my darling, of course we can be married tonight, he assures her--we've had the license for days!--forgive me, I hope you don't mind me asking this--is there anything wrong?--for the reason you suddenly came here this evening? Nothing, she says evasively, I've just been home, alone, and I was thinking about you--about what you're going through, what you must continue to go through, and I thought to myself Morgan needs me
you're always ganging up on me, accuses David--just like in school! He runs off. Vicki calls his name and Roger advises her to let him go and cool off--actually, it was you I wanted to talk to. Whatever you say, she tells him. I was sitting in my office twiddling my thumbs, says Roger, and all of a sudden, a thought occurred to me--I haven't been very fair to you. I haven't complained, she assures him. That was part of my thought--here you are in a strange place, a strange situation, and I haven't done anything at all to make it easier for you--and that's what was bothering me. David comes downstairs and listens from this point on. Roger adds that if he had only met her Halfway, things might have been much more pleasant in their relationship. Mr. Collins, protests Vicki. Don't argue, says Roger, as David creeps closer to the drawing room, I'm the one to blame, not you. I don't think anyone's to blame, says Vicki. I insist, says Roger, as David listens at the half-closed door--as long as I'm being noble about it, at least let me go first class--I must confess that part of the fact was that I never knew how to handle David and I suppose I resented that my sister felt a young girl could succeed where I failed--perhaps you'll let me make it up to you and take you out to dinner one night. Well, says Vicki, beginning to pick up the downed chair. There are some wonderful places along the coast, says Roger, where the lobster is delicious. I've been waiting to have some of that ever since I got up there, she says as they right the chair together. Good, then it's agreed? asks Roger. Agreed, says Vicki, and he asks her to call him Roger--I think it would be nice for David to have some happy people around this place for a change, she says
Liz returns to Collinwood, takes off her coat and tosses it onto a chair. Did you see Laura? asks Roger, who is stretched out on the sofa, reading a book. Yes, says Liz. What was the outcome? asks Roger. The outcome will be determined, she replies. How? he asks. By which one of us is the stronger, she says. Sounds like you ladies squared off, says Roger. Possibly, says Liz. That would have been something to see, he says, flipping the pages of his book. I'm glad you're taking it so lightly, says Liz, your wife and son have a problem--and you're ducking the issue just like you duck everything else. (nasty, but true.) Very vindictive tonight, he notes. I told Laura she couldn't see David anymore, reveals Liz. That's pretty drastic, says Roger, standing. It's the best I can do for now, says Liz, if she doesn't stop seeing him, I'll have to go further. I see says Roger. Vicki enters. Roger asks her if she calmed David down. He's asleep, she says. Let's hope he sleeps through the night, says Liz. I think he's used up all his tears, says Vicki. My concern is he doesn't have to shed anymore, says Liz--David must be protected.
Willie and Maggie hear Barnabas heading back to the basement. He reminds her to let him do the talking. Willie tries to convince Barnabas how good Maggie was, but Barnabas says she's going to her grave as common old Maggie Evans.(http://www.dsboards.com/epimgs/0251-3.jpg)
And I suspect getting the screen capture for this quote is the first time I've ever played Ep #251 on DVD because I'm pretty sure I had no idea that before Act 1 there's a summary of the previous week's eps. Not having been watching DS yet back in June of 1967, I didn't see Ep #251 when it was originally aired
I did look up the Sci-Fi Channel broadcast and discovered something interesting though not altogether pleasing for anyone who doesn't have the DVDs and is relying solely on their Sci-Fi tapes for the eps. Not only are the announcement made during the theme and the summary missing, but also Barnabas' first line of dialogue for Act 1. On the DVD (and presumably on Volume 50 of the Collector's Series VHS), Act 1 of Ep #251 opens with Barnabas saying, "You still haven't answered my question. What were you doing with this tool?" Whereas Sci-Fi's version opens with Barnabas simply asking, "What were you doing with this tool?" But we can just add that to so many of the other things that were changed or dropped when Sci-Fi ran DS. [snow_rolleyes] [snow_mad]
Drawing room - As Naomi and Ben stand in as witnesses, Barnabas and Angelique are married in a simple ceremony, with the groom saying a solemn "I do". He places a ring on her finger, the minister declares them husband and wife, and the reluctant bridegroom plants a chaste kiss on his wife's mouth. The minister offers his best wishes; Naomi kisses Barnabas and tells him to love Angelique, and Barnabas heartily calls Ben to get champagne. Bland takes his leave, saying, "I didn't expect to be this long, as delightful as it was." Barnabas closes the door after him, leaning against it for a moment as though he wishes he could disappear along with the Reverend Bland. He has had enough! Looking like a condemnded man heading for the gallows, Barnabas returns to the festivities. Angelique is telling Naomi she wishes there had been some flowers, and Naomi wishes she'd sent some over. She tells Barnabas the wedding was beautiful and she's very happy. He says he is, too, but not very convincingly.
Willie needs to go to Collinwood; the dream is driving him crazy and he has to tell it to her. Barn forbids it, even though Willie says he'll go crazy. Carolyn's been through an ordeal, Barnabas reminds him, and he won't let him put her through another. What about what I'm going through, demands Willie?-- I'd rather go back to Windcliff than have the dream again. Barnabas says he understands (but his voice belies that), but if the dream curse goes to its end, he'll be the one who suffers. Willie complains he's scared all the time, always shaking with fear. Barnabas assures him he DOES know how he feels. Then let me go to Collinwood, begs Willie, and stop searching for a dead man. They argue about it vehemently.
Quentin assures her, I can make it worth your while to remove the curse--now--I know what the curse is--Jenny's ghost has already appeared to me and won't let me rest--I'm willing to give you all the money I have if you stop it. "You came to buy me!" exclaims Magda, making a face at him. Sandor, grinning, tells her to wait. I'm insulted at his offer of filthy money, insists Magda. Quentin admits, I came to buy you off and aren't ashamed to admit it--I want to tell you how much. Yes, he hasn't said how much, smiles Sandor. Magda says her husband's name in an angry, disbelieving voice. Let him show us, then he can go, suggests Sandor. Quentin offers them 10 thousand dollars, cash--I have it right in my pocket. Sandor wants to see the money, but Q insists on hearing Magda's answer first. Sandor points out, we could travel very far on so much money. Quentin agrees. We could do all the things they always wanted, live like kings!, adds Sandor. Magda wants to see it.(http://www.dsboards.com/epimgs/0749-4.jpg)After your answer, says Quentin. "May my poor sister forgive and understand me," says Magda, pointing at Quentin with the two-fingered gypsy salute. "I remove the curse, she says, and all your suffering." He hands her the money, gratefully thanking her. Sandor suggests a drink to seal their bargain, saying Quentin has been relieved of a very heavy burden. While Magda counts the money in her lap, Sandor prepares three drinks, pouring the amber liquid into one of them. Magda happily says, we are all satisfied--we are rich and you are free! Sandor hands out the drinks and suggests a toast to that. Quentin drains his doctored drink, stands and says, I'll be on my way now--minus ten thousand dollars, of course, but it's worth it--at least I'm free of the curse. He starts to leave. Magda informs him, the curse has actually just begun--you thought the curse was Jenny's haunting. She tosses the envelope filled with money at him--that was just your guilt--"Keep your rotten money," she says, "I just pretended to take it so you could relax and have a drink, because the potion that would make the curse effective was in that drink. THE CURSE WILL START TONIGHT!"
Paul runs downstairs. Julia is standing in the foyer. Did you see the little girl who just came downstairs? He asks. I saw no one, answers Julia. She had long, blond hair, insists Paul--you must have seen her! The only child I saw was David, she says. Did you see Alexander? Paul asks. I don't know who that is, she says--however, I know David was playing hide and seek with someone. Paul brushes past her and looks into the drawing room--she isn't here, he mumbles, you saw no little girl--who is she, where did she go, how did she get here in the first place? Julia asks, why is she so important? He starts to say something, then stops.
Lab - Yaeger returns. He opens the safe and takes out the antidote. I don't relish being Cyrus again, he says to himself, but that lawyer must be brought into line, and soon! He reluctantly drinks the antidote and feels the pain of transformation.
What a pity, says Samantha, I've undone all your pre-conceived notions--she tells Hortense she wants to see her immediately in the drawing room, then says to Gabriel that they finally have something in common, don't they?--they're both destined to rot in this house! She goes into the drawing room and closes the double doors, then asks Hortense where Tad is. Upstairs in his room, reveals Hortense. Samantha tells her she's going to be leaving Collinwood. This shocks Hortense, who reminds her she just told Mr. Gabriel... I told Mr. Gabriel what I wanted him to hear, says Samantha--I'm going and taking Tad with me--I want you to go and pack his clothes--do it secretly, do you understand? You mean you're taking the boy without Mr. Quentin knowing about it? asks Hortense. That's exactly what I mean, says Samantha, tonight, at seven o'clock, I want you to go to Tad and tell him I'll be at Rose Cottage, and I will go there sooner and wait for you to bring him to me. Hortense objects--suppose she gets caught? Samantha assures her she has always been very kind to her. No one has been as good to me as you, agrees Hortense. Then please stop worrying, says Samantha, and do as I say. Gabriel is listening closely outside the doors as Samantha orders Hortense to bring her to her as soon as it gets dark.
Judith, wearing a lovely green velvet dress, tends to her mail. She asks Beth into the drawing room and hands her a letter terminating her employment at Collinwood, plus two weeks' severance pay--you can thank Edward for the latter; says Judith, frankly, I was against it. Beth timidly asks, why am I being fired? Judith gives her a look and says, with Jenny gone, your services are no longer needed. Beth, shocked at this abrupt dismissal, doesn't know what to say. Judith doesn't understand why--you were only kept on to care for Jenny. What about the children? asks Beth. They'll stay in Collinsport with Mrs. Fillmore, replies Judith. They could be brought back here, with Jenny gone, suggests Beth eagerly. No, says Judith, not very practical, and how to explain two infant children suddenly arriving at the house? Tell the truth, says Beth, that the children belong to Quentin and Jenny. Impossible, says Judith sternly, Quentin must never know about the children. I never understood why you and Mr. Edward decided to do that, says Beth--it seems to me Quentin should know about the children. Judith notes, you seem very concerned about Quentin lately. What is that supposed to mean? asks Beth. That your infatuation for my brother hasn't gone unnoticed, says Judith--the servants have been gossiping about it for a month. Is that the real reason for my dismissal? asks Beth. The reason for your dismissal is stated in the letter, says Judith cruelly, sending Beth scuttling away.
Barnabas finds Angelique wide awake in the drawing room, and fuming about his failure to tell her he's hiding a woman in their house. Oops, says Barn, he intended to tell her, but there's been no opportunity. Vicki is there for protection from Trask, insists Barnabas, but Angelique hints there's another reason, and Barnabas laughingly accuses his bride of jealousy. Does I have reason to be? demands Ang. No, Barnabas says. Why is he taking the risk of hiding Miss Winters, then? Barnabas explains he doesn't believe in witchcraft, and even if he did, he doesn't believe Vicki is a witch--does Angelique believe Vicki is a witch? asks Barn, to which Ang responds, "I know nothing of witches." She was just upset he kept this from her, and he apologizes for doing so. They hug, and she says they've both been cast aside by his family, they only have each other. . .she promises to keep quiet about Vicki. They kiss as he heads off into town to find work
Carolyn doesn't seem happy to hear the police are certain Adam is dead--she needs time to get back to being herself. Liz asks if Adam hurt her. He used force to keep me there, says Carolyn, yet didn't hurt her--he was strange, pathetic, trying in his own clumsy way to be gentle. Liz finds this hard to believe.(http://www.dsboards.com/epimgs/0506-2.jpg)He was frightened, trapped, and had to do something desperate, explains Carolyn. Liz wonders how she can defend this man, who could have killed her. He wouldn't have done that, says Carolyn, trying to explain, but in a strange way, she feels sorry for Adam, but doesn't understand why--she isn't happy the man is dead, because now they'll never know who he was, where he came from--there was something about him that made him so different from other people, almost like a child who hasn't learned to talk or had any experience with other human beings.
751
Quentin shakes Beth, demanding she tell him what she must do in town, but she, equally adamant, insists, I can't explain it--let me go! Forget it and come with me! he says. I want to go, pleads Beth, it will only take a few minutes. There isn't that much time! he shouts. Why not? she asks. It's getting dark out, he says, and the gypsy told me. . .Quentin abruptly begins to experience terrible, terrible pain, tearing at his insides--I can't bear it! he cries, I feel like I'm going to die!--get a doctor, before it's too late! As she runs from the room, Quentin falls to the floor, writhing in agony. A dog howls. We see the full moon.
Did you get the signature for the bank account? asks Cyrus. Yes, says Chase, but I tore it up after getting it--I can't believe you won't listen to reason about him. Cyrus, shocked, says, I'm not in the mood to argue about this. Explain, be more specific, insists Larry, as to why you need Yaeger--surely someone can replace him, perform whatever services he's doing for you. I can only tell you, says Cyrus, that I'm not going to change my mind about this--I want that bank account opened in his name--and one more thing--I want you to change my will--in the event of my death or disappearance, everything that belongs to me shall go to John Yaeger.
Later, Evan returns to Quentin's room and draws a huge pentagram in chalk in the middle of the floor. He calls it a haven and sanctuary against many evils--though I'm still not sure what we're dealing with, this pentagram may help. He tells Quentin to place two black candles at the bottom points of the pentagram at sunset, then get inside the pentagram and stay put. Quentin asks what will happen then, but Evan can't answer that. Skeptical and afraid, Quentin doesn't appreciate how little Evan learned about his curse, and rubs out part of the pentagram with his foot to show his disdain Evan, pissed over the desecration of his art work, stops being delicate and relays to Quentin the cold hard facts: it's possible you may die inside the pentagram. I won't be getting in the pentagram in the first place, Quentin assures him--I'll just kill Magda instead. Evan says that would make matters even worse, and Beth warns that, if he does that, there might be no hope at all. Quentin, fed up, orders Evan out. The lawyer gives Beth a stern caveat--get out and stay away from Quentin tonight, go far, far away. Evan leaves.
(http://www.dsboards.com/epimgs/0507-4.jpg)Funeral music leads her to the next door, which contains her headstone: CAROLYN COLLINS STODDARD, BORN DEC 8, 1948, DIED JULY 15, 1968. "No!" cries Carolyn, and she awakens, screeching, "I saw my own gravestone!" "Tell me your dream!" demands Stokes.
The werewolf leaps at Beth, who screams, but can't bring herself to kill the man she loves, even in this dangerous form. It knocks her to the ground, which attracts the attention of Edward and Barnabas, who are nearby on the same path. Barnabas beats the werewolf off with his cane, forcing the creature to retreat. Barnabas asks Edward, "Have you ever seen this creature before?" No, Edward assures him. We must take Beth back to the house, says Edward, before it returns. Jamison is in the woods! Beth informs them, hysterical. Barnabas wants Edward to return to Collinwood, but Edward doesn't want Barn left alone--we need a gun, and I need your help with Beth.(http://www.dsboards.com/epimgs/0754-1.jpg)I have my cane to protect me, says Barnabas. The wolf, back on his boulder, watches, growling low in his throat.
Stokes offers him a sherry, and Tony accepts. Stokes says the cross is probably not authentic and he'll need it for a few days to test it. Tony agrees. It's used for protection against witches, says Stokes. Stokes pours the sherry, and Tony surreptitiously takes out the ring containing the poison. Stokes says he's going to get some cheese, which helps him sleep, and excuses himself to get it. Tony says he'd like some, too, and after Stokes leaves the room, empties the powder in the ring into Stokes' glass. When Stokes returns, he finds Tony examining the cross, saying he's fascinated by it--his wife thinks it's real gold. Tony's back is to the professor while he's talking to him, and Stokes urges him to come drink his sherry.(http://www.dsboards.com/epimgs/0509-4.jpg)"To your antique gold Coptic cross," toasts Stokes, "may it turn out to be antique and gold for your wife's sake." They drink, Tony draining his glass in one gulp. While Stokes is prattling on about the cheese, Tony grabs his throat and begins to convulse. "Professor!" cries Tony, before falling to the floor, unconscious.
Roger, Carolyn and Liz troop downstairs. Roger is going to search the grounds, but won't let Liz--and don't phone Chris until after the kids are found, he says.
Silent a moment, Charity says, you were frightened when we found you downstairs--what was it? As soon as I came inside, says Kitty, I felt myself in danger, from someone in the house--I don't know who, I wish I did. Charity ponders it--I can't think of anyone in the house who'd want to harm you. I still feel it, says Kitty, like a presence trying to speak to me. Let it, advises Charity. No, says Kitty, terrified, I mustn't do that, must not let him find me, must resist her! You poor thing, murmurs Charity--lie down.
Chris checks out the window and hears a knock at the door. Sabrina is safe, Bruno assures him-- for the moment, and will be safe as long as you observe one rule--you must be very quiet, even if you have the pain, I want no screams--scream and Sabrina will pay, believe me!
]Barnabas surmises that Cassandra had to have told Nicholas everything about the past--if he did erase Maggie's memory, he did it knowing he was helping him, and there's only one reason for that--Adam--Blair knows if Barnabas is in danger, so is Adam. Julia says if it is Nicholas, he must know about the experiment, but they need proof.
Vicki goes to Collinwood, which is, indeed, under construction, only to find Burke Devlin's twin, Jeremiah Collins (in a magnificent powder blue waistcoat). She runs into his arms but quickly realizes this isn't Burke. She explains that the man she loved is dead, and apologizes for her mistake. He kindly tells her he's sorry he isn't who she thinks he is. She bursts into tears and he gives her his handkerchief. She introduces himself, although she can't explain where she's from. He tells her that everyone is really curious about her, and this business about her arrival in place of the other governess is really strange.
Cyrus pours some stuff into a beaker, and says, when I first met Yaeger, I'd never met anyone like that before in my life--he certainly has some rough edges, the doctor admits. Quentin lays it on the line--what kind of a hold does this man have over you? What do you mean? Cyrus asks. Whatever you say won't go beyond these doors, Quentin assures him. I don't understand what you mean, insists Cyrus. Are you being blackmailed by Yaeger? asks Quentin. Of course not, responds Cyrus, annoyed--now listen, both of you--my relationship to Yaeger is purely professional, nothing more--I appreciate your concern, but it isn't necessary--I can end my relationship with Yaeger anytime it suits me (sounds like a man talking to himself about a drug or alcohol addiction)--you must believe that--is there anything else you wish to discuss with me? Not tonight, says Quentin, but if I'm right about Yaeger, feel free to call on me. I appreciate that, says Cyrus, but doubt it will be necessary
Carrie, it's you! says David, speak to me, please, if you can! She just grins. I have a question for Gerard, but perhaps you know the answer, he says--Hallie and I were afraid Maggie learned what's happening to us, and that Gerard punished her--she was attacked in the woods--we wouldn't want anything to happen to Miss Evans--did Gerard do this to her? All Carrie does is smile. You don't have to speak to me, he says desperately, just nod, yes or no--did Gerard do this to her? She shakes her head. Then Maggie doesn't know anything about what's happening to us? asks David. Again, Carrie shakes her head. That's what I was hoping you'd say David says--then Dr. Hoffman must have been right--it must have been an animal!
Maggie wanders into the cemetery, where, unfortunately for her, Barnabas is the one who finds her--and promptly grabs her around the throat. He drags her to the mausoleum where he opens the secret panel. "Come," he orders. She tries to run away from him, so he snatches hold of her
The whole idea is preposterous and idiotic, says Roger, predictably, to Dr. Guthrie as Carolyn and Vicki stand by. And very necessary, insists the doctor. I refuse to play these parlor games! rants Roger. I can assure you, this will be no parlor game, says Guthrie. A seance, indeed! Says Roger--I've indulged this family enough with its superstitions as it is, but this is going too far! But if there's a possibility it might help Mother, cajoles Carolyn. Help your mother?--why not dance a voodoo dance around the hospital table? demands Roger--chanting semi-guttural noises? (I'd like to see that.) I can tell you, says Guthrie, that I feel a seance is the one real contribution I can make to this entire case.(http://www.dsboards.com/epimgs/0167-3.jpg)I congratulate you, says Roger--it is the first succinct confession of quackery I have ever heard. It is not quackery, says Vicki, we can't ignore what's been going on here! I'm aware that you've never cared for my ideas, says Peter to Roger. These are not ideas, says Roger, ideas are the product of the human mind!--this is a product of irrational superstition. I know that you're anxious to have me leave Collinwood, says Peter, well there is one way you can hasten my departure. A simple request, perhaps? Asks Roger. (LOL!) If the seance fails, there will be no reason for me to stay on, says Guthrie. Oh? asks Roger. Once the seance is over, begins Peter. You'll forget this foolishness? Asks Roger. I'll have no choice, says Peter. Well, then let's do it at once! says Roger eagerly--come along, girls, let's gather 'round. (so subtle.) Uncle Roger, says Carolyn, he's only trying to help! says Carolyn. I'm not sure when the time will be right, says Guthrie, but I'll let you know. When do you think it will be? asks Roger. Soon, promises Peter, very likely--you'll participate? I think I should, replies Roger, I think somebody should be present who has a firm hold on their sanity. Good, that's settled then, says Peter--I'll let you know when the exact time will be. Carolyn thanks him and Vicki volunteers to show him to the door. (wasn't he supposed to stay at Collinwood?) He follows Vicki out. Carolyn chastises Roger--He's only trying to help my mother, and the only thing you can do is be rude. Oh, Kitten, please, says Roger, I've agreed to your simple little pleasures, isn't that enough? I wonder if he wants us to talk to Aunt Laura about it or if he'd prefer to do it himself? Asks Carolyn. Do you really expect Laura to join in on this lunacy? asks Roger--(Vicki rejoins them) you must be out of your mind!--I wouldn't consider it--he looks up at the ceiling--I'll be in my room if you want me, he says, just tap on the night table--seance indeed, he mumbles, I've never heard anything so ridiculous in my life. He leaves the room. Do you know what? asks Carolyn--I think the real reason Uncle Roger is objecting is because the idea of a seance frightens him, just as it does me. Do you really think your Aunt Laura will refuse? asks Vicki. Of course she will, predicts Carolyn, and we won't even have the argument we used with Uncle Roger--that it might help Mother. I don't know... says Vicki. Of course you know! says Carolyn, you know as well as I do that Aunt Laura probably had something to do with my mother's illness--she was the last person to see her--if she hadn't done anything wrong, why did she lie about that?
Daniel sits at a desk in his tower prison, writing a note. Ben enters and greets him. I'm glad you're here, says Daniel, I need your help--I'm writing a note to that wasteful son of mines. You mean Mr. Gabriel? asks Ben. No, Quentin! says Daniel querulously--you've heard what he's done, haven't you?--appropriated funds from the family business. Look at me, Mr. Daniel, bids Ben--you can't write no note to Mr. Quentin--he's dead. Astounded, Daniel looks at him, then says, Quentin, dead? I told you, don't you remember? asks Ben--Mr. Quentin was lost at sea? Daniel repeats, "Lost at sea?--he always loved the sea, Ben--well, then, we must make the proper funeral arrangements." I came up to tell you there's someone waiting downstairs who is real anxious to see you, says Ben--a relative. Rubbish, says Daniel, I'll have none of that--I know my relatives too well--they all come with outstretched palms. This one ain't like that, says Ben
Collinwood drawing room - We'd just better pray Quentin finds her before she finds Kendrick, Julia, says Flora--the state she's in, she's likely to tell him more than you did. There's nothing wrong with what I told him, says Julia defensively. There was no reason to tell him anything at all, says Flora. After what he'd seen? asks Julia, I had to say something to him! How do you know he won't repeat that to everyone he meets? asks Flora. I don't know, says Julia, but it was better than saying nothing about it! We should have found some way of dealing with him a long time ago, says Flora--we always knew something like this was inevitable. I tried to deal with him, I even offered him money, says Julia. He refused? asks Flora. Yes, says Julia, he said he wouldn't take any amount of money to not see Melanie again. Do you think seeing Melanie change that way shocked him so badly, he'll never come back? asks Flora. I don't know, says Julia, there was no way of telling what he was thinking when he left. We'll have to face it, says Flora, if it didn't shock him enough, he'll be more trouble than ever--if he really is in love with Melanie, we'll never get rid of him! We've got to keep trying, insists Julia, we must convince him the situation is hopeless. Yes, agrees Flora, but we must be careful--we don't want to happen to him what happened to... Julia interrupts--how is Morgan? she asks. No change, reports Flora
We see our first view of the Old House, its columns gleaming eerily in the setting sun (this is a great outdoor shot--how sad that the Tarrytown Old House burned down). Flashlight in hand, David leads Vicki across the porch and up the stairs between the columns. The wind blows hard. David opens the doors and they enter. There is a lot of junk strewn all over the place; the windows are broken. It's huge, observes Vicki. It's got an attic and cellar, says David. You must be the only person that's been here in years, says Vicki. Are ghosts a person? he asks. Oh, a ghost...oh, David, they don't exist, says Vicki, annoyed. They aren't alive, but they exist, all right, David assures her--wait and see. A shutter abruptly bangs closed, scaring both David and Vicki. It bangs in the wind. I think that shutter is one of your ghosts, says Vicki. No it's not, he says, you'll know it when you see it. Vicki hugs herself against the chill. David lights a candle as the wind hums through the ancient house.
At Collinwood, Trask is all set to again toss the confession into the fireplace. This time, he chooses to tear it into pieces. The room darkens, wind blows, thunder rolls. Trask turns on a single lamp, then tosses the balled up paper into the trash can. The window blows open; the room is filled with eerie, outer-space sounds. Scared, he closes the window, looks around himself, and seems to be trying to escape something. He covers his ears against the awful noise, then runs into the foyer. Minerva! he cries--I know you're here, and why--leave this house!--do you hear me?--Minerva, stop doing this to me! He begs her to stop, sinks to his knees, covers his ears, screaming, "Stop it!" over and over.
The lights in the drawing room come on; all sounds subside. Trask asks Minerva, listen to me--I'm innocent! The wind howls and the supernatural sound returns, as if disputing his claim. He rises to his feet--Minerva, an evil force has roused your spirit against me, you must believe that! He covers his ears again. Silence once more, lights returning. Charles Delaware Tate asks him, are you all right?
Chris stares from his awful hotel room at the moon. He gazes at his reflection in the mirror, feeling for excess facial hair. He paces, nervous. He checks his watch. He picks up the phone and calls the operator to get him 7758. The phone rings at Collinwood. Barnabas answers. Chris asks to speak to Julia. Barnabas says Julia can't come to the phone. I must speak to Julia, insists Chris. There's been an emergency with Liz, explains Barnabas. My emergency is more important, says Chris. I'll have Julia call you as soon as she can, promises Barnabas. Chris slams the phone down in frustration and looks anxiously out the window again. He falls into a chair, feeling the first stabs of pain, and we hear a wolf howling.
I can't control Barnabas anymore, says Ang, he has a cross that protects him, and as long as he has it, he can do whatever he wants--he can kill Eve! Adam, backing away from her, falls onto the sofa. She tells him Barnabas is in his former room, lying on his bed. He's planning to come kill Eve--I swear it. Adam vows that won't happen, but he can barely move. Vicki is with him, explains Ang, do whatever you must with her, but find the cross and destroy it Then Barnabas will be as he was before. Adam insists he cannot go. Ang says Barnabas is weaker than you are, and I know you can get there--please try, she begs. He assures her he will go and take, that cross! Ang is relieved.
Julia asks Michael, are you another relative of Megan and Philip's? Yes, responds Michael, I will be staying with them a while. That's nice, remarks Julia.(http://www.dsboards.com/epimgs/0913_14-4.jpg)When Michael raises his hand, she notices the moon shaped birthmark on his wrist and stares at it. What's the matter? Asks Michael. Nothing at all, answers Julia--when is Carolyn expected? She doesn't usually come in until afternoon, says David. I'll come back then, says Julia, and leaves. "She noticed my birthmark," says Michael--"She didn't say anything, but I knew what she was thinking. She's beginning to suspect too much, David--we must find a way to deal with her--immediately." David looks unhappy at this announcement.
Cyrus sits at the desk in his lab. He's just taken another shipment of the compound from Gladstone--bring another tomorrow, requests Cyrus. Another? asks Gladstone--so soon? Can you do it? asks Cyrus. Of course, says Gladstone--your experiment must be moving along very nicely, especially considering the quantity of the compound you're using. Cyrus doesn't answer at first, then says only, the experiment is continuing. Successfully? asks Gladstone eagerly. The delivery can be accepted tomorrow by Sabrina, says Cyrus, I won't be here. You still won't discuss this project, will you? asks Gladstone, sounding just a bit nuts. Apparently, that's the case, isn't it? says Cyrus.
when she answers her door, finds Jeremiah there. He swears he didn't want to be alone with her, but her flirtatious manner assures him she's very glad he stopped by. He's angry with himself, but she insists their matching brands are the result of Fate, and they should stop hiding what they feel for each other. She caresses him, and even though he shakes her and reminds her, roughly, that she loves Barnabas, they end up in a passionate clinch. She tries the rosewater on his hand, to no avail, and he tells her Naomi dreamed of this "brand for lovers." Their hands touch, they kiss again.(http://www.dsboards.com/epimgs/0377-4.jpg)He walks away, tells her that when he's alone in his room, he doesn't feel this fever for her; then returns to her side and kisses her face. Let everyone in the house know, insists Josette. we must be together! Jeremiah succumbs, then cries out this can't be--he is leaving Collinsport, now, tonight. He races from the room. Josette is upset and confused.
she's wrong--she's remembering something in the past--but I'm a totally changed man now--you must remember that--and she cannot accept it! The thought didn't even occur to me until I was on my way back here, says Daphne. Furious, seemingly talking to himself, Bramwell wonders, how dare Catherine try to interfere with our lives--she chose how to live hers--now let her live it and let us alone! Oh, Bramwell, says Daphne, why is there so much emotion in your voice when you speak of her? There are many kinds of emotions, says Bramwell, and anger is one of them, and I've never been one to hide my anger--you will have to learn that. I have learned it, says Daphne, stepping back from the intensity of his emotions, and you still haven't said the words I want to hear. I love you--very much, he says (and gets a zero on the love meter for his lack of sincerity). No, says Daphne, I know you better than you think, and I know you didn't mean what you said. She gazes at him regretfully.
he can't spend another moment down in that basement, he feels the presence of evil down there! There's no key, says Randall, he probably took it with him. Break the lock, says Trask. I can't, objects Randall, the door is solid iron--someone at Collinwood must have a key, he'll go there and return as soon as he can. Randall! calls Trask through the bars, please hurry!
Vicki lights the candles. We must keep in mind that experience may be a very gratifying one, he says, we may be able to understand the reason for Mrs. Stoddard's trance. Carolyn enters and greets Peter. My uncle will be along in a moment, she says, I must warn you, his attitude is not the best. Mr. Collins' attitude doesn't bother me in the least, he assures her. Good luck to all of us, she says, on this occasion. I hear someone toasting, quips Roger, but I don't see anyone drinking--good evening, Doctor. Peter greets Roger and says if they're all ready, they can begin. I'm as ready as I'll ever be, says Carolyn. Vicki says she is, too, continuing to light the candles. Let's get it over with, agrees Roger. If you'll all sit at the table, I'll turn out the light, says Guthrie. He closes the double doors and turns out all the lights, then turns on the recorder. How very restful, remarks Roger. Make yourselves as comfortable as possible, advises Guthrie. He sits across from Roger. Vicki and Carolyn face each other. Our object here tonight, says Peter, is to summon the ghost of Josette Collins--now we're all reasonably certain that she's been trying to communicate with us (Vicki looks nervous)--now we feel if we can create the proper atmosphere and right state of mind, that she will come into this room and speak to us--she might either appear to one of us or use one of us as a medium, to speak through. Well I certainly hope she uses you, doctor, it will be something to remember, hearing her voice coming out of your mouth.
Uncle Roger could no more have killed Mr. Malloy than I could--do you mind if I get a drink of water? She starts to go to the kitchen and he stops her, saying that place is an awful mess--I'll get it for you. He does so, preventing Sarah's being discovered. Burke and Sarah look at each other as he fills a glass with water. He smiles at Sarah before returning to Carolyn, to whom he hands the water. She drinks. Maybe I was a little hasty about that part of it, says Burke--it seemed so logical. You just don't know Uncle Roger the way I do, she says. And you don't know him he way I do, counters Burke--but I must admit, I did jump the gun--I have a lot on my mind. I know you have, she says. Bill Malloy's death struck me harder than most people, he says, I guess because he was my only real friend--I guess the only other person affected as much was Mrs. Johnson.
but I'm no less angry at Bramwell--he must not see her anymore, because if he does, I'm going to kill him. Julia comes in--that isn't the answer, she chastises--I told you not to get upset about this. I can't help it, he says.
Quentin pours himself a drink in he drawing room. She holds up the music box--do I owe you thanks for it? she asks. He's shocked to see it--where did you get it? he demands. I hoped you could tell me, she says. I don't know, says Q. You've seen it before, she challenges him--where? I must be wrong, it can't be the same one, he says. Who did it belong to? she asks---it matters to me, a great deal. He reluctantly tells her it belonged to a relative who once lived at the Old House. Barnabas Collins? she asks. How do you know that name? he asks. I collect information, she says craftily, and remember what I hear--you wouldn't expect me to forget a vampire, would you?--I listen when people speak--now is there any reason I shouldn't know? No, not now, he says--Barnabas is dead. I think I saw him the first night I was here, says Kitty--I cannot believe he was a vampire. She opens the music box and asks, "If this was his, why was it given to me?"(http://www.dsboards.com/epimgs/0849-2.jpg)I don't know, says Quentin. She looks haughty and disbelieving. She drops the lid, closing off the music.
Adam is reading when Nicholas appears in his room. Adam, surprised, orders Nicholas to leave, but the warlock tells him they will be good friends. Carolyn is his friend, insists Adam, but Nicholas points but so is Stokes, whom he knows. Stokes told me you were here, reveals Blair, and I am going to be teaching you, too, taking up where Stokes left off. He knows Adam will finish the simple books soon, and Nicholas will see to his higher learning--Carolyn doesn't know I'm here, says Nicholas. Adam smiles and admits he likes Carolyn very much, and Nicholas tells him not to worry about what others think or do what others want him to do-he must be a strong-willed individual. He tells Adam he is stronger than other people, bigger, can learn faster, has a better brain, can do things others can't-a very important person.(http://www.dsboards.com/epimgs/0545-2.jpg)Adam likes this ego-stroking a lot. Nicholas promises he will learn, with his help, how important he is. Nicholas says he's never seen anyone quite like Adam, a man who, with his guidance, can alter the course of history. Adam likes this, too. Nicholas shakes his hand and promises they will be going a long way together.
In the secret room, Barnabas accuses Julia of arousing Woodard's curiosity. He opens the panel. David must be silenced, insists Barnabas, but Julia protests. Barnabas opens the coffin and shoves her into it violently.
There's a knock at the door. Carolyn goes to answer. It's Joe and Burke, reporting they didn't find a trace of Vicki. Roger, left alone in the drawing room, looks pissed off at the sound of Burke's voice. We searched just about everyplace, says Joe. You must be frozen, says Liz, come on inside. I could stand to thaw out a little, agrees Burke. They troop into the drawing room and Burke spots Roger. What do you have there? Roger demands of Burke. A weapon, says Burke, holding up the rifle. It's mine, isn't it? asks Roger. I didn't want them to go out without some protection, says Liz, sitting on the sofa. It could be dangerous in here, as we'll as outside, quips Burke, handing Roger back his rifle. If you don't mind, says Roger, the sight of you with a loaded gun is not a very comfortable picture.
if you do what you did today, Miss Judith will send you away, warns Beth. Jenny insists Judith can't do anything; she's nobody. Beth says that's not true anymore--she owns the house now, everything, gives all the orders, even to her brothers-- everyone! says Beth bitterly--and you must, too--you have got to be good, and quiet and try to understand or she'll send you far away.(http://www.dsboards.com/epimgs/0717-3.jpg)This upsets Jenny, who asks, Will she let me take my babies with me? Yes, Beth assures her. Jenny calms again--that's all that matters. No, says Beth, try to understand--you must be good!--will you be good? Yes, says Jenny, covering her "babies"--the climate I used to live in was warmer than here--do you think my babies will get a chill? Resigned to the madwoman's inattention, Beth assures her they will be fine.
Julia says Trask finally got his revenge on Angelique, and Barn speculates on whether the Reverend returned to "that other world." They both wish there was a way to know for certain, that Trask could give them a sign. Then she remembers-Trask's skeleton. If he's ended Cassandra, his skeleton will be back where it was, Trask at peace at last. They must go check-if it's there, Barnabas will be free. Eagerly, they leave together for the Old House basement. Barnabas fears even looking, wondering if Trask won't rest until he finishes him, too. Julia reassures him. Julia checks first-the skeleton is there! "It's true!" exults Barnabas. "Angelique is no more!" He hardly dares to believe it, and asks Ang to give him a sign if she still exists. No, says Barn, she won't appear-her cruelty will want him to hope. He must hope, says Julia
I have given my orders, says Brutus, you will carry them out--do you not appreciate the honor I am bestowing on you?--allow you to kill my enemies--you must prove yourself worthy of such a mission. I will be, says Gabriel, picking up the knife, and he leaves. Brutus' ghost fades away, but not before we hear his laughter.
I know you love me, she says--go away with me--it will all be so wonderful--even time will be different!--where we're going, there is no time. This disturbs him, so she amends it--what I mean is, people don't pay attention to time. It must be very far away, says Jamison. It's a place of warm sun, she describes, very sunny--you'll love it there, it's a place of special people. Jamison wants to know what this fabulous place is called (Las Vegas?). I'll tell you, promises Laura, if you agree to come with me--I don't want you telling your father. I'm worried you'll leave without me if I say no, worries Jamison. I must go, she says. When? He asks. I can't stay much longer, she warns him. I don't want you to go, protests the boy. Then come with me, says Laura--Nora will come with us, it will be just the three of us; just like when you were young--"Darling, I cry every night when I think of you and Nora in that dreadful school." (oh, good one, Laura!)(http://www.dsboards.com/epimgs/0754-2.jpg)--Edward won't be able to stop us--we won't let him know when we leave. When would we leave? He asks. Tonight, she says--say yes, darling. Jamison agrees--I'll go! She hugs him, stroking his hair. You'll learn so much so quickly, she gushes, it will be well worth what we much go through--and we shall be together, always. . ."
Burke's suite - Sarah Johnson comes to call, and Burke tells her he's glad she could come. You said it might help find who murdered Mr. Malloy, she says. Then you agree with me that he was killed? asks Burke. Yes, that was no accidental drowning, she says, the way they would have you believe. They way who would have you believe? asks Burke. Everyone, she replies--the sheriff, the doctor, they think if they can write this off as an accidental death, they could close the case and no harm done. You think they'd like that? asks Burke. Of course, says Sarah, if they investigated with half the sense the good Lord gave them, they might turn up embarrassing information about certain people in this town. There's only one important family in this town--the Collinses, he says. Yes, she agrees. Did Mr. Malloy ever have any misunderstanding with any of them--with Roger in particular? asks Burke. Well, he thought the world of Mrs. Stoddard, says Sarah--he didn't have much use for Roger. Isn't that strange? asks Burke, I don't have much use for Roger, either--between us, maybe we can do something about it. She looks at him expectantly.
her feeling for Burke is a normal, healthy passion--a woman who's experiencing that might do almost anything for the man involved--what would Burke most want her to do? You're forgetting about David, says Liz, she wants him, and mother love is a strong emotion. After all these years, where does it suddenly come from? asks Carolyn--why did she never make any attempts to communicate with David, even when she was getting well. Because she knew he wouldn't like it, says Liz. That would account for a kind of weak mother love, says Carolyn--when she suddenly appeared, without telling anyone she was coming back, why was Burke one of the first people to speak with her? I don't know, admits Liz. After everything we've put her through, how fond do you think she is of Uncle Roger--of any of us? wonders Carolyn--do you think she'd be above wanting to hurt us?--do you think it might not even be considered normal for her to want to? I suppose it could, admits Liz. What would be the best way for Laura and Burke to hurt us? asks Carolyn.(http://www.dsboards.com/epimgs/0151-1.jpg)Through David, says Liz, the last of the Collins--the one hope of our name being carried on--oh, Carolyn--David! Yes, Mother, says Carolyn--David. Liz gets up from the table. Laura must go, she must leave here immediately! Insists Liz.
Maggie follows the sounds of the hammering (Willie has built the coffin for her vampire self) and eavesdrops on Barnabas and Willie down in the basement. Barnabas explains that his power over Maggie isn't absolute, but once she becomes as he is, he will have none--she will be his, forever, Josette, and never remember Maggie. Barnabas comments that he's sure Josette will love the coffin, but Maggie, hugging a brick wall, listening to all this, doesn't look anything but petrified.(http://www.dsboards.com/epimgs/0250-2.jpg)
(http://www.dsboards.com/epimgs/0398-2.jpg)Barnabas finds Angelique wide awake in the drawing room, and fuming about his failure to tell her he's hiding a woman in their house. Oops, says Barn, he intended to tell her, but there's been no opportunity. Vicki is there for protection from Trask, insists Barnabas, but Angelique hints there's another reason, and Barnabas laughingly accuses his bride of jealousy. Does I have reason to be? demands Ang. No, Barnabas says. Why is he taking the risk of hiding Miss Winters, then? Barnabas explains he doesn't believe in witchcraft, and even if he did, he doesn't believe Vicki is a witch--does Angelique believe Vicki is a witch? asks Barn, to which Ang responds, "I know nothing of witches." She was just upset he kept this from her, and he apologizes for doing so. They hug, and she says they've both been cast aside by his family, they only have each other. . .she promises to keep quiet about Vicki. They kiss as he heads off into town to find work, and she watches him leave from a window. She won't tell anyone about Vicki, but that doesn't mean no one will find out...
he kept jabbering about a dream he had and had to tell me about it. He's having hallucinations, says Liz, he told her about some dream, too, at the Old House. Carolyn thinks what scared her the most was the way he spoke of the dream-it must be the most terrifying thing that's ever happened to him--he acted like he had no peace of mind until he talked about the dream. He said Carolyn was the one he had to tell the dream to, which puzzles both women. He took a huge risk, breaking into my room, says Carolyn, yet he did it anyway-why? Willie's mental state, guesses Liz, but Carolyn said he didn't act deranged, just terribly frightened. Carolyn thinks Willie really did have this dream and for some reason, she is the only person he could tell about it.(http://www.dsboards.com/epimgs/0506-4.jpg)Liz doesn't believe this, and tells Carolyn to go to sleep. No, says Carolyn, she's afraid. No one can get in, Liz assures her. But it's the dream that is scaring Carolyn-if she goes to sleep now, she'll have the dream Willie was telling her, and if she does, she's afraid she'll die!
Liz leads Roger to his room; but all he can speak of is that wire. She helps him sit up in bed. This happened at a bad time, he laments--I have business in London the day after tomorrow. That can be changed, says Liz.
Barnabas finds Edward in the drawing room, examining a rifle. Barnabas joins him and tells him Beth doesn't want them to send for a doctor. Disbelieving, Edward recounts how the animal--if that's what it was--was wearing clothing and walked like a man. Your bullets won't kill this creature, warns Barnabas. Nonsense, insists Edward, desperate to go searching for his son. Jamison might have gone to Laura, suggests Barnabas. This makes sense to Edward, who passes his rifle onto Barnabas--"I don't put much trust in your cane." Edward leaves. Barnabas wishes he had silver bullets, realizing that, for the first time since I arrived in this century, I understand why I'm here. He knows THIS werewolf is connected to Chris, and hopes to solve at least one of his riddles soon--he'll stash the creature in the mausoleum.
when I went to the hospital to get Grant, he said he didn't want me to treat him anymore, refused to come with me. Why, asks Chris, if he has amnesia, would he turn you down? He left with Olivia, reveals Julia. i don't get it, says Chris--why is she so interested in him? She either knows or suspects he's really Quentin, says Julia--let me see the x-ray. She holds it up to the lamp and says, now I know why she's so interested in the painting--there's another painting under it--a portrait!
did you enjoy New York? I saw Maggie there, she says. Quentin turns away. She rises from her chair, going after him--you must listen, she insists. I'm not interested in what she has to say about me, he says. She's not bitter, she's hurt, says Liz. I don't want to hear about it! says Quentin, avoiding her. Don't be a fool, she says. And don't you be a meddler, he retorts. Maggie wants you to come to New York, she says. And how does she expect me to get there? he asks--does she want me to come on my knees? If you love her, Quentin, go, advises Liz. Does Maggie have a list of demands I'm to give in to? he asks. She wants nothing but the assurance of your love, Liz responds. Isn't she interested enough to find out? he asks nastily. Quentin, says Liz... She left me, he reminds her. You forced her to, says Liz. How? he asks--by not forcing Alexis to leave this house? She thought Alexis was Angelique, Liz reminds him, you know that. A hysterical idea that had no basis in reality, argues Quentin--does she know that Alexis is still here?.(http://www.dsboards.com/epimgs/1007-2.jpg)Angelique listens in, a smile on her face. She assumed that, says Liz, knowing how stubborn you are.. Stubbornness has nothing to do with it, insists Quentin. Yes it does, says Liz--it's making both of you desperately unhappy. You let me decide about my state of happiness, says Quentin testily, I don't need you to decide for me--I don't expect you to understand me and Maggie. Because you don't understand yourself, says Liz pointedly. Quentin turns and says I understand one thing--I don't want a child for a wife, and only a child runs away and sulks--if you are in touch with her, you should tell her that. He leaves the room.
Quentin knocks at David's door, making Daphne disappear. Quentin has brought his camera, which David wanted to borrow for the picnic (another clue!). Thank you, says David. i must say your gratitude is less than overwhelming, says Q, you've been wanting to use my camera for the last year, and now...Quentin stops. David, he says, I'd swear that I smelled lilacs. It's too late for them to bloom, says David. I know that, says Quentin
Barnabas and Julia roam the woods, hearing something heavy moving about. Barnabas hands Julia the lantern and takes his cane in hand, holding it as a weapon. They hear the sound retreating, and Barn figures it's only an animal. They come across the dead body of Hortense. Barnabas! calls Julia.
I always knew you and I would have a fight someday, says Morgan, but I thought it would be with our hands (didn't you two already do that?)--but pistols are better. No, screams Catherine. She and Julia stand there. Go back to Collinwood! orders Morgan. There will be no duel! insists Catherine. That is up to us! says Bramwell. Think of the scandal, warns Julia. What a ridiculous reason to stop this duel! says Morgan--we are going back to Collinwood, he orders Catherine and Julia. I will not let you kill each other! cries Catherine. We are leaving, commands Morgan
You were worried about the dinner, says Carolyn--there, you see what you ought to have is a housekeeper and cook--it's silly for you to do all that. Why are you suddenly so interested in a housekeeper for Collinwood? asks Liz--do you think we owe something to Sarah Johnson? Yes I do, says Carolyn, Mr. Malloy worked for our company, so in a way, Mrs. Johnson did, too--she must feel almost like a widow now--she has no place where she feels needed. I'm glad you're so considerate, darling, says Liz. Besides, grins Carolyn, she's a great cook. Ah ha! says Liz. That's only one reason, says Carolyn. I'm relieved to hear there's nothing but good food on your mind, teases Liz. Then you will ask her? says Carolyn. I'll think about it, promises Liz and walks toward the stairs. Carolyn closes the window, smiling, pleased.
Joe and Vicki are having drinks at the Blue Whale when he tells her he saw Buzz' motorcycle gang revving their engines--and Carolyn was with them. On a second go-round, they left a pile of beer cans in their wake--and Carolyn was still with them. Vicki says Carolyn is just doing this to upset her mother, then suggests that Liz might be marrying Jason because he's charming and not unattractive. Joe, however, thinks Mrs. Stoddard is heading for a fall. Buzz and Carolyn lurch in, both drunk, and order more booze at the bar. Vicki and Joe are upset to see her in such gruesome company, and not at all happy when Carolyn drags Buzz to their table to introduce them.
Sarah has found Vicki in her upstairs room, but the latter denies calling to the child. Sarah complains that she never sees her brother anymore, nor Miss Winters, and Abigail is very scary! Vicki sympathizes with her. However, Vicki is very upset to learn that Abigail and Joshua are downstairs--she has to hide! Sarah takes her to a hiding place in the attic that no one knows about, and promises not to tell anyone she saw her.
Stokes calmly dials Collinwood, luckily reaching Julia, and tells her to come immediately-he might have just killed a man!
Barnabas prepares to leave, but runs into. She taunts him about playing the hero--were there tears in Edward's eyes when you brought his son home to him?--and blames the boy's illness on the school--tell Edward I've come for my son. She tries to stall Barnabas leaving; he says, I'll leave you to plot your revenge.(http://www.dsboards.com/epimgs/0755-1.jpg)I will have it! Laura hisses at him--before this day is over, I will have it!
Yaeger enters a room--this has to be another building on the Collins estate, he muses, the only one that could have a cellar this size is Loomis house.(http://www.dsboards.com/epimgs/1010-4.jpg)He spots Barnabas' chained coffin and runs his hands over it. Well, well, he wonders, what dark secret is Will Loomis keeping from the rest of the world? I must find out, decides Yaeger--it just might come in handy someday. Using nothing more than his hands, he begins to remove the chains from the coffin!
Grant comes out and remarks, you and Barnabas aren't the only ones who know Quentin. No, she says. That requires an explanation, too, he says--does everyone in the house know Quentin? No, says Julia, the children do. How's that possible? asks Grant. He came back from the dead, says Julia. Grant laughs--is that what you think I'VE done?--no wonder you're interested--a ghost with amnesia, that could be fascinating--I might forget that I'm dead! he says sarcastically. Julia reminds him, I treated you in the hospital, I know you're alive. And the kid saw a ghost, how do you explain that? asks Grant. I want you to explain it to me, says Julia. I have no answers, says Grant--you know that, (he grabs her arm in a painful grip) and you'd better start giving me some if you expect to see me here again.(http://www.dsboards.com/epimgs/0911-1.jpg)Hurting in his grip, Julia says, I know I have to explain, but please let me choose the time. He releases her. She cradles her sore arm and unlocks the door.
Leticia looks at the head and says to it that she has tried before and will again--"Body of Judah Zachary, she calls, "show me where you are, for I have been chosen to find you--by the powers that I possess, let me see. . .let me see--men, I see men searching for you--where are you?--where are you?--this is danger for you, I must find you before they do, for they are enemies--body of Judah Zachary, show yourself to me!" She sees a vision of boots, of the creature lying on the ground covered in leaves. Yes, she says, yes! She turns to the head and says I know what I must do now, Judah Zachary.
...
- though I'm actually shocked that Kaplan didn't end each version with a camera shot that practically went up Yaeger's nostrils because, if you pay attention to so many of his eps, it's an understatement to say Kaplan just loved extreme closeups!!
...
Gerard and Kendrick walk through the woods, searching for Stella. Why are you stopping here? ask Kendrick--there are no buildings around. We're no longer looking for a building, says Gerard--tool shed--we must find a tool shed, and if I remember correctly, there is one inside the stable--come along. They hurry off.
When do you expect the coroner's findings? Asks Burke. Sometime today, says Patterson, sitting on his desk. How do you think it will go?--you must have some idea--it's your report he'll be reading. What's your guess? asks Patterson. I think it depends on how much weight the Collins family carries, says Burke. They own the biggest house, says Patterson, the biggest fishing fleet, cannery--but they don't own me or the coroner! I'd like to believe that, says Burke. You'd better believe it, advises Patterson, annoyed--no matter how this decision goes, it's going to be an honest decision, and I don't want any trouble from you!
Old House - Barnabas speaks of a missing head, a headless body--is it still missing? he asks Julia. It was when the governess was killed by a headless body, says Julia. They could have been brought together after that, says Barnabas, and if they are, what kind of evil could be along us? In 1970, they had no idea all this was involved--if the head was so important at this time, surely Daphne would have told them. Maybe she never had a chance to learn about it, says Barnabas--they've got to find out more about Judah Zachary if they are to understand any of this, says Barn. Julia asks if that's the name of the man when he was alive. Yes, says Barnabas, he was convicted to witchcraft in 1692 in the town of Bedford--decapitation is an unusual form of execution for witchcraft, there must be a reason for that--you must go to Bedford, he says, find out what you can about the trial, there must be a file of some sort--we must find out--Bedford was an important port at that time--can you go this evening? Probably, she says, but the courthouse probably isn't open in the evening. You must try, insists Barnabas
Fishing shack - Inside, Ben slugs booze from a jug. He's going to leave Collinsport, he vows. He's dismayed when Barnabas, hastily promising not to turn Ben in, enters. Ben apologizes for hurting him, but Barnabas says he understands. I wanted to let you know you're safe from the witch, says Barn craftily--she's been caught and will be executed. Who are you talking about? asks Ben. Why, Victoria Winters, replies Barnabas. Are you sure of her guilt? asks Ben, disturbed. I am, says Barnabas--the evidence was overwhelming. Ben ponders Vicki's possible fate, unhappy
Cassandra hears the clock striking midnight. Where is Tony?--it must be done by now!--what if he failed, or was caught? Tony watches her through the window, then knocks at the glass. She gestures for him to come to the front door. He comes inside. I was worried about you, she says, and he tells her it's done-he's dead! Tell me how he died, she demands. Roger appears at the top of the steps and Tony, quickly covering, says he's sorry Carolyn is asleep and he hopes he didn't disturb her. He bids her Cassandra good night and leaves. Cassandra sees her husband glaring down at her.
Robbing a grave is a bizarre activity for a beautiful woman, Barnabas says to Laura. Laura denies doing any such thing. Then what are you doing with something that doesn't belong to you? he asks, and takes the book. She gives him an argument, but Barnabas reminds her that, "One of us must lose." Dirk attacks Barnabas, who is able to subdue Laura's lover-henchman with one vampiric hand. You're not human! Laura accuses.(http://www.dsboards.com/epimgs/0756-1.jpg)Then what am I? he inquires. I don't know, admits Laura, but I'm sure this book has a name for it-- I came back to Collinwood for just one thing-- my children--at every turn you've tried to stop me-- but not anymore-- I will destroy you! YOU are the one who will be destroyed, promises Barnabas--goodnight.
They all go into the drawing room--sit down, offers Flora. Only Kendrick sits, and asks, Mrs. Collins, tell me the truth now--all of it. That implies I didn't tell you the truth before, says Flora. I'm sorry, says Kendrick, but that is what I suspect. Melanie listens intently. I know your sister's death has come as a great shock to you, says Flora, but I have just lost my husband, and I don't feel this is the time to discuss the matter. When you hear where we found Stella, says Gerard, I'm sure you will understand we cannot believe the stories you told Mr. Young--Stella's grave was found in the woods, on this estate! Melanie busts into tears. This is too much for Melanie, protests Flora--we'll have to discuss this some other time. Stella! sobs Melanie. Kendrick rises--Melanie, I'm so sorry it had to happen this way, he says--I wish I could have made it easier for you. Please stop! begs Melanie, crying, moving away from him.
Joe Haskell walks in; the frightened Adam knocks him down and runs out the door. Joe asks Sam about what happened and Sam tells him that he's been helping Adam for the past few days-with Maggie gone, there's been no one for him to talk to. (seriously, who leaves a blind man alone?) Joe tells Sam that's no ordinary man, his face looks like it's been through a meat grinder-he knocked me down like a feather, and I'm no lightweight-what if this guy is an escaped murderer? Sam assures Joe the two of them got along well-in his own ways, he's as handicapped as I am-I sensed an innocence about him. Joe tells Sam this man and the guy who kidnapped Carolyn Stoddard may be one and the same.(http://www.dsboards.com/epimgs/0512-2.jpg)I already figured that out, says Sam, which appalls Joe-why didn't you call the police? Adam saved Carolyn's life, says Sam, he isn't dangerous, he needs friendship and understanding.
If you hadn't come along, I would have destroyed Barnabas, says Laura. I will always be here when Barnabas. . .needs me, says Angelique meaningfully-- unless, of course, you plan to destroy me, too-- an even more foolish idea. You're being foolish, counters Laura-- perhaps I can't destroy you, but he can hurt you-- Collinwood has always held unhappy women, and Barnabas is a Collins. Rather different than the others, says Ang-- nevertheless, I will remain devoted to him, no matter what you try to tell me. Laura laughs-- you ARE a fool-- perhaps you can force him to love you through spells and potions, but if he really had a choice, do you think Barnabas would choose YOU? No, says Angelique coolly, anymore than Dirk would choose YOU. I'm not interested in Dirk, says Laura, only my children-- but you do care for Barnabas, don't you?-- how does it make you feel that you are succeeding as a-- whatever you are-- but failing as a woman? (oooh, low blow!) We should both get rid of him, says Laura, we'd be better off without him. Pissed off, Angelique says, I am going to destroy you-- you will never leave this house! Ang heads upstairs. A wall of flames rears up before her. Angelique, afraid, draws back. I must warn you, says Laura, I am not without power. And it would seem you are not without fear-- till we meet again, my dear Angelique, says Laura triumphantly, and flounces off.
Daphne writes in her diary, saying at last I am in his house--I must be very careful so he does not know how near death is. She smiles at the entry and closes the diary, then looks at the cute little pistol lying nearby and picks it up and looks at it more closely. She slips it into her red velvet handbag.
Quentin is still reading from the Book of the Dead, trying to get Ra, the sun god, to summon Laura to his breast. When the fire goes out, Angelique can't get it restarted--Laura is fighting us! She wants Quentin to try some more incantations to another Egyptian god, Osiris, but he feels it's not good to disturb the god of death. Laura will know you took part in this, Angelique reminds him convinces him to continue. Quentin begins the incantation again and entreats Osiris to show Ra that his powers are greater and rekindle the fire once more--"Let her burn for your glory!" The fire starts again
Julia wonders what to do about Amy, Chris' sister. Amy doesn't want to go back, but Julia says you must go--you shouldn't have run away; your treatment is important. Amy says she only needs her brother, and she'll find him. Julia promises to have Chris come to see her at Windcliff tomorrow. Heartbreakingly, Amy begs not to be sent back; Chris promised her he'd stay and never go away again--he'll take care of her. Julia explains--I'm responsible for you, Amy. Chris will do that, says the little girl. I haven't been able to reach him, explains Julia. Between the storm and the lateness of the hour, Liz suggests Amy stay tonight.(http://www.dsboards.com/epimgs/0639-2.jpg)Julia agrees, but "It's back to Windcliff tomorrow."
Trask wonders about Rachel's insolence, asking about Mrs. Collins this way!--must I tell you everyone I speak to each day? I simply wondered if she had been here, says Rachel. Why? asks Trask--is there a reason? No, says Rachel, no reason. You're lying, he accuses--have you learned that, too?
Julia walks diffidently down the stairs. Jeb greets her--come in, he says, join us, help us celebrate, offer us congratulations--we're married. Julia's eyes fly open in astonishment. Jeb presses his head against Carolyn's and says--it's a surprise, you never thought it would happen, did you? Stunned, not knowing what to say, Julia doesn't reply. Come in! urges Jeb, every celebration needs guests. Julia enters the drawing room, hugs Carolyn and wishes her happiness--Jeb, take care of your bride, then accepts a glass of champagne from Liz. "To my husband," toasts Carolyn, "may neither of us ever forget the way we feel as this moment."
Roger questions Julia about the coffin in the crypt--Liz did follow her, but not to the crypt. Roger decides this means Liz must return to Windcliff, but Julia says she won't make progress there if she doesn't want to go and won't cooperate. Roger finds Julia's talk about her own hospital strange. Julia advises him to let Liz stay home--she will be a consultant. Barnabas comes upstairs and tells Roger and Julia that Liz believes they are plotting against her. Again Julia tells him to let Liz stay at Collinwood, where she feels secure. Roger goes downstairs. Julia confesses she lied, which Barnabas agreed was the only thing to do.
Nathan takes her into the Eagle and buys her rum to assuage her fear of almost losing her life. He wants her to go to the police, but she's so frightened, she just wants to leave town. Nathan promises to take care of this himself. I must be wrong about whose cane it is--my friend who had a similar one is in England.
Roxanne sits in a chair, awaiting Barnabas' return. Julia and Quentin enter. Julia introduces him to Roxanne. Where are Maggie and Barnabas? asks Julia. Maggie never came back after you called, reveals Roxanne. This greatly concerns Quentin. Barnabas got worried about her and went to look for her. Something must have happened to her, says Quentin. Would she have any reason to go to Collinwood? asks Julia. No, says Quentin, she was going to come directly here. The phone rings. Quentin answers. It's Stokes, who says, I didn't expect you to answer. What do you want? asks Quentin. I'm calling to extend an invitation to you, says Stokes. How did you know I was here? asks Quentin. Your wife was on her way to Loomis House, says Stokes--I assumed it would be just a matter of time before you joined her there--but of course, she didn't get there, did she? Do you know where Maggie is? asks Quentin. She's with me, says Stokes.
Barnabas approaches Quentin, who asks how long have you been standing there? We just came in a moment ago, says Barnabas, but we couldn't help overhearing--Quentin, who is Daphne? I'll tell you nothing, says Quentin. Is she the girl we saw talking with David a short time ago? Barnabas asks. David? repeats Quentin--David Collins?--David Collins is dead! We know that, says Barnabas, we all saw his ghost earlier in the playroom--you ran when you saw it. Quentin, voice trembling, asks Barnabas, why are you trying to confuse me? Julia steps forward---you must know who you saw, she says. I did not see David in the playroom--it was Tad that I saw! cries Quentin. Barnabas, she says, that was one of the two names on that birthday card.
Collinwood, Julia's room - Barnabas tells Julia Woodard must die--and SHE must help him do it! When she steadfastly refuses to kill her friend (or former friend, as Barnabas so cruelly points out), the vampire promises Woodard an agonizing slow death
I want to live with him permanently, says Laura. You want to take him away from here? asks Liz. Yes, answers Laura. Is that all you want, just to take him with you, asks Roger--you have no other terms? None, Laura says--I have a very good place to live with very good people--I can provide everything for him. I see, says roger. David, of course, says Liz, is in line for a sizable inheritance. Whatever is due him is his alone, Laura assures her, I want nothing, except his love. Are you sure you can get this from him? asks Roger. Laura rises and looks Roger in the face. I have to get it from him, she says--I will--and I desperately need this opportunity. He's not the kind of child that you might imagine, says Roger. He's my child, says Laura, and that's all I need--Roger, do you want him more than I do? What you're saying is, says Roger, you want to take him from me. Well? she asks. Liz watches them. I don't know, says Roger. Liz stands. I think we must all take the time to think this over, she says. I've taken the time, says Laura, I know what I want, I know where I stand and I think I've stated it--and I know what I need.
Collinwood - Gerard comes downstairs and enters the drawing room--Charles, he burbles, everything is splendid--how would you like to play a ghost?--we're going to have a little seance, and you will enact the part of Randall Drew--Daniel Collins wants proof of Quentin's innocence or guilt, and we're going to give it to him--of course, it will be fake, but he won't really know the difference. But his condition, says Dawson, isn't the seance dangerous? Yes, says Gerard, but you must not worry about that--you will be well prepared in every detail and movement--and every word.
The lottery has been held, she says, we agreed on the rules beforehand, I must go into the room. Oh, but darling, he objects, hugging her, it isn't fair!--we've only been married such a short time--you don't understand, one thing or another may happen to you--you may die or go insane--I can't bear the thought of that, and won't let it happen to you--I want to take your place. The family would never allow it, she insists. He rises from the sofa--I'll order a carriage, he says, we can be gone long before dusk. What are you saying? she demands. I'm going to take you away from here--as far as it will go. Do you think that will solve anything? she asks. If it will keep you out of the room, I'm willing to do it, yes, he says. This family has believed in this curse for a very long time, she says, and they all say that you can't run from it--it will find you wherever you go. I'm willing to take that chance, he vows. You can't run away from something you must face, she insists. Gabriel went into that room and faced it for a short time, says Morgan--look what happened to him--he's running through the woods, crazed!--the police are after him, I don't want that to happen to you. It won't, she assures him, because I don't believe in the curse--I never have and never will
Miss Winters is always making up stories about me, says David. I don't doubt it, Roger assures him, people usually lie when they have inadequacies of their own. What's that supposed to mean? asks David. If a person is at fault, explains Roger, he or she, as the case may be, will lie to cover that fault. That must be what Miss Winters does! says David excitedly--why don't you fire her? Oh but Aunt Elizabeth likes her here, says Roger. What if she did something Aunt Elizabeth didn't like? asks David. I don't see how she could do that, says Roger--she's a paragon of virtue, she can do nothing wrong. But Aunt Elizabeth might THINK she did! says David. Don't tell me about it, says Roger, putting his hand on his son's shoulder--just don't tell me about it.
Aristede, contrite, enters the studio. Do you want me to get rid of him? asks Tate. No, Charles, says Petofi, I think I know why Aristede has come--bring your work into the next room, and bring it back to me when it's finished. Charles does as ordered. "So, Aristede, you've come back to face me." says Petofi, grinning. To beg forgiveness, says Aristede. Close the door, dear boy, says Petofi, and come in. Aristede complies. You must understand, pleads Aristede, it was a natural mistake, I had no way of knowing what happened. Aristede, poor, conscience-stricken Aristede, croons Petofi--you must not indulge in this orgy of recrimination, I do understand what happened. Aristede is grateful. One must admire Quentin's courage and ingenuity, says Petofi--of course you believed his story, why shouldn't you? Aristede, relieved, kneels beside Petofi and asks, are you going to be all right? Of course, Petofi assures him, quite all right--and I'm anxious to forgive you.
At the Old House, Julia tells Barnabas Sabrina KNOWS. Why didn't she tell? he asks. She will, predicts Julia. Barnabas points out that she had every opportunity to tell--and now Ned, who stays at her elbow every second, is always there--we should have stayed with her. They agree it's tragic, Ned spending every cent he has to hunt Chris down. . .taking care of Sabrina himself--and the girl, she hasn't looked in a mirror since that terrible day. And Chris, poor Chris, having all this on his conscience. Julia asks what they can do--we are involved, if she talks, then Ned will go to the police--we've been shielding a werewolf. Are you afraid? he asks. We haven't been able to help Chris, she says. You were more patient when helping me, he says (love has everything to do with that). I will see Chris through this, vows Barnabas, as promised--I will end the curse, with or without your help, he says adamantly. She nods, gazing at him with love. Now they must find a way to stop Sabrina from telling her brother. . .
Carolyn closes the doors and tells Stokes he must take Adam with him-tonight--he can't stay with her. It's neither his fault, nor hers, adds Carolyn, but he's changing, growing up--it's to be expected--he's sweet and bright, and learns fast. Stokes is surprised at the list of positives--what about the bad? She tells Stokes what Adam did and that he wants to make her love him. Carolyn begs for help--Adam is no longer a child, but a man.
"Julia," she says earnestly, "we became friends in the past, please let us be friends now, don't tell them I'm here, please don't." I won't, promises Julia, if you give me the picture. But I can't, protests Ang. Quentin is in trouble, reports Julia. Ang is surprised to hear Quentin is at Collinwood. A man I assume to be Quentin arrived a few weeks ago, says Julia, but he's lost his memory, and I am sure the portrait will help him regain it--he's just as he was, he hasn't changed at all. Don't tell me those things, begs Ang, I don't want to hear them! Allow me to take a View of South Wales and have it transferred to another canvas, asks Julia--your husband need never know--if you ever felt anything at all for Quentin, you must do this, Angelique--you must! Stricken, Angelique considers Julia's words.
Angelique sits up, smiling. Alexis, her face twisted with disbelief, gazes at her twin with terror, insisting, "No, this can't be happening, it isn't possible!" "But it is happening, dear sister, thanks to you," says Angelique. "You were dead!" Alexis moans. There were always so many things that didn't interest you, says Angelique, laughing, taunting--"you were always the innocent one, so content with life as it was, but I have always known that life is much much more than it seemed to be--I was able to master secrets you never dreamed existed!" We see the sisters face to face now, Angelique stripping off the long, white gloves she wears in her portrait as Alexis holds her coat closed in abject fear. The dead cannot live again, insists Alexis. "They can, to help the living," insists Angelique--how my body remained preserved, that will remain my secret, but I always knew that my spirit would never die, that someday someone would have to come and open my casket, and all that would be needed was the touch of a human hand--you gave me that! The warmth of your touch brought the life back into my body!" Angelique is stunning, exultant, but Alexis still doesn't believe it. That's what's happening now, and of course you don't believe it, mocks Angelique, but it is happening--you can feel that, can't you? It's so cold, whispers Alexis. And you will become colder, and colder, until all the warmth is gone from your body and you die! promises Angelique--I must have your warmth to sustain myself! No! protests Alexis.
Barnabas notes how deadly silent the room is--the clock stopped! The door blows open and Josette, her face covered in a bridal veil, enters. He's pathetically happy to see her, but she doesn't feel the same. He forced her to come, and demands he keep his distance. She assures him she doesn't hate him, she's beyond all that. She feels nothing. He wanted them to be forever together, he says. He asks if she forgives him, and she replies there is nothing to forgive--they have gone to their respective fates. They can't be together, she says, and he must allow her to rest. He presses her to stay, relentlessly, and she finally lifts her veil to reveal her torn, tattered, hideously deformed face. Barnabas gasps, "No!"(http://www.dsboards.com/epimgs/0430-4.jpg)
I know he's embezzling funds and trying to get me out of the partnership--but I don't know how to prove it. There's only one way, she says--to go to the secret records room and find the books he keeps himself. We've gone through this already, he says--if I only knew where the record room was, but only Brutus knows that. I know, she says, I found out today--quite by accident. Tell me, where is it? asks James.(http://www.dsboards.com/epimgs/1231-1.jpg)Constance listens outside the window as Amanda tells James--just off Brutus' bedroom--at the head of the bed is a large drape--behind the drape is a door leading to that secret room. He hugs her gratefully--I know I can prove it now, he says--I'll go there tonight. James, she says, staring into his eyes, you must be very careful.
The truth came to me tonight in a dream, he says--about your husband--until tonight, it had only been a suspicion, but after my dream, I'm convinced Quentin is in league with the devil. Mr. Trask! scoffs Samantha--are you serious? Yes, he says--your husband is guilty of practicing the foulest acts of witchcraft--he was responsible for the death of poor Lorna Bell, and there is also the possibility he was involved in the death of Roxanne. Samantha stares at him. I see, she says, and this dream of yours constitutes the only evidence you have against Quentin? The dream revealed the truth to me, he says, Lorna Bell was branded on her forehead with a strange sign, the same sign Quentin wears on a ring--now, his strange behavior offers further evidence of his guilt--surely you've noticed how odd he's been acting since his return.(http://www.dsboards.com/epimgs/1145-2.jpg)As a matter of fact, says Samantha, I've always been a bit troubled by the work he does down in his lab--I figured it was just his eccentric way of trying to fill time. No, Madame, says Trask, 'tis much more than that! Whether you're right or wrong, says Sam, it's impossible for me to leave Collinwood--Quentin would never let me take Tad, but I would be interested in anything else you might happen to find out. I will keep you fully informed, he promises, rubbing his hands together--and you can help by keeping an eye on Quentin's activities. Yes, she says, brushing off Ima Fly, I intend to do so. Because, says Trask, if what I told you is true, something will have to be done. I quite agree, she says, something must be done.
Will you let them take me out of this house? asks Liz. Only because of you, to help you, says Carolyn. There's no help for me, away from Collinwood, murmurs Liz--don't let them do this to me! You're making it very difficult, says Carolyn. I want to stay here--what could be less difficult? Asks Liz. Please, begs Carolyn, please, if you won't do it for yourself, then do it for me--I won't rest easily until I know what's wrong with you--she looks at Roger.. I see, says Liz, you've made up your minds without consulting me. you're in no position to make the decision, says Carolyn. Very well, says Liz, I can't fight all of you--if I must go, remember, that you and you alone are in charge--I don't want any decisions made, not about David or anything else, until I return. Roger looks surprised at this directive. I'll try to do everything as you would do, promises Carolyn.
you insinuated to my niece and one of my employees that I had something to do with Malloy's disappearance? I didn't insinuate a thing to them, or you, says Burke, I'm TELLING you, loud and clear! Why shouldn't I? asks Roger--didn't I agree to meet you and Evans and Malloy right here in this office--doesn't that prove I didn't have a thing to worry about? Burke grins. No, he says, it only proves that Malloy was right when he wanted to tell me something at that meeting, something detrimental to you and Sam Evans. That doesn't make sense, says Roger, I tell you I have nothing to do with Evans. Then why did Bill want him there last night? asks Burke. I don't know, says Roger, I told you he might have gone haywire, he's been saying all sorts of things for which he had absolutely no basis. I think he had a basis, says Burke--he wanted Sam to corroborate that evidence. Then why didn't he? asks Roger, when you and I were here in this office for almost an hour--why didn't Evans speak up then? Burke says maybe he was afraid--what have you got on him? On Evans?--I hardly know the man, says Roger. Bill Malloy set up that meeting for one reason only, says Burke--to clear me of that manslaughter charge? How could he? asks Roger. Through Evans, says Burke--and when Bill didn't show up last night, you must have talked to Evans, told him to keep his mouth shut. Ridiculous, says Roger--you're like a man with a jigsaw puzzle, trying to force the pieces to fit when they don't.
In the cottage, Laura tells Dirk his presence has given her great strength (great something)!--but you must go now. I don't want to leave now, he protests--you need me, my protection. She assures him she'll be all right, but suddenly grows faint, weak, her strength ebbing away. Dirk holds her.
He tells her there's too much he doesn't understand, but she says she can't wait another night. She forces him to look at her, and, feeling her marks on his throat, he does. They must go ahead with it, and he must do as she says, she tells him. Mesmerized, he agrees. Begin, she orders. He warns her they are taking an insane risk, he doesn't know what he's doing
We could have been married by now, says Morgan. I know, says Catherine--what Bramwell did was unforgivable. Did you give him any reason to do it? asks Morgan. She doesn't answer. I'm sorry, he says, I didn't mean it--I know you didn't (going to bed with him doesn't count, does it?)--he's a very persuasive man, I know that--I must make him leave Collinwood--after tonight, he must go. You can't just force Bramwell to leave, points out Catherine--please forget about Bramwell. How can I do that? he asks.
Carolyn shakes her head--it wasn't a shutter. She says--I know the sound every single shutter in this house makes. There's a banging sound. There it is again, says Carolyn. Sounded like it came from the drawing room, says Vicki--has your uncle come upstairs yet? I heard them come up not long after we did, says Carolyn. Then it must have been David, says Vicki, unlocking the door. Don't unlock the door! says Carolyn; however, Vicki says she's going to catch a live little ghost.
She finds her sister huddled against a wall, sobbing for Quentin. I only have you and Sandor now, cries Jenny. Magda urges her upstairs. Barnabas is dead, says Jenny, laughing--not Quentin, but Barnabas. She touches the coffin, then walks around it--I shouldn't have looked, but I feared it was Quentin--when I see him and tell him. . .. Magda warns Jenny not to tell him.
Adam wants to go to ensure Vicki's safety. You must trust me, says Nicholas. Adam continues to insist, and Nicholas says it would be a problem if he disappears from this room--Carolyn would immediately suspect Adam was connected with Vicki's disappearance and call the police. This convinces Adam to stay where he is. Nicholas tells him to stay a few hours, then leave--meet me in the woods near the Old House--I have a plan
Outside, Jason keeps prowling around, and looks in the window in time to see Willie bring a big box of jewelry in for Barnabas' perusal.(http://www.dsboards.com/epimgs/0274-1.jpg)Willie tells Barnabas he knows his next Josette will be Vicki, but Barnabas refuses to confirm or deny it.
what did you want to see me about? I was just wondering how well you're getting along with David, he says, we had a talk about you yesterday, you know. I think he's trusting me a little more, says Vicki, as Roger leads her into the drawing room and seats her in a chair--he'd even be willing to introduce me to his friends. Friends? asks Roger--I didn't know he had any friends. Ghosts, says Vicki--he took me to the Old House last night to have me meet them--that's a scary place. Yes, and a good place to stay away from, says Roger--did you meet any ghosts? No, but I dreamt about them all night long, she says--I must have awakened 20 times thinking there was something in my room. What you need is a change, an excursion away from all our gloom, he says. David's lessons start at nine, she tells him. You've never seen our cannery, have you? he asks. I haven't had time, she says. Today I'm going to conduct you myself on a personal tour, he says. What about David? she asks. Let's be extravagant and give him the day off, says Roger.
Let's face it, Roger accuses, you're ready to put the wrongs of the world at Laura's feet--you have it in for her because you want David. And you want to get rid of him, says Liz. We've argued about this a hundred times, says Roger, and I'm not in the mood to talk about it tonight. I have no intention of arguing, says Liz, but I don't like the effect Laura is having on this house, and after tonight, I'm more determined that ever that she must leave. She's already said she would leave, he says. But she hasn't done anything about it, says Liz. She hasn't had time, points out Roger. I've tried to be patient with her, says Liz, but my patience is at an end, either she decides to go soon, or I'll have to decide for her.
Pity poor Maggie! Now she's attired in a somber black dress (who's been dressing her, anyway, and doing her fancy sausage curls, Willie?) instead of the pretty white bridal gown, but I guess Barn figured she isn't worthy. She's trying desperately to think of a way to escape the cell, but all she can think about is that coffin !
Drawing room, Old House - Trask orders Barnabas to surrender the witch to him. There is no witch in this house, Barnabas says. Exorcism is terrible stuff, inviting evil, says Trask--turn the witch over to me! Again, Barnabas refuses, and warns him that he is not to search the house. Trask says it will work effectively from outside the house
When Barnabas demands to be allowed to defend himself, Trask invites him to go ahead. Barnabas tries to question Nathan, who vanishes before saying another word. We're ready to render a verdict, says Trask, over Barnabas' protests that he hasn't been given a fair trial. There is no need to hear anymore evidences, states Trask. You're a madman! Accuses Barnabas. Trask pronounces the verdict-guilty-and the sentence-death!
Amy sees a star on Joe's forehead, and Madame F turns and sees it, too.(http://www.dsboards.com/epimgs/0648-2.jpg)She is horrified. It fades away. Joe looks in a mirror and sees nothing. He asks Amy to go find Mrs. Stoddard!
On the landing at Collinwood, Beth assures Quentin there's no full moon tonight. Sarcastically, he asks her, "Am I supposed to be my old self?--should we have dinner tonight?--do you think I can forget about last night--or the night before?" What if I'm different than the books say?--suppose I change even if there isn't a full moon? Quentin decides to check with Evan Hanley, seek his advice. Barnabas arrives, anxious to speak to Quentin alone. I found out a great deal about our mutual friend, hints Barn--but we must act quickly. Not tonight, insists Quentin, and exits. Barnabas gazes at Beth.
Collinwood - Julia brings Grant in. He looks around, shaking his head, grinning. I must say, I'm impressed, says Grant--I really wouldn't mind being a Collins, but nothing rings a bell. I'll take you upstairs, she says. He glances around and spots Barnabas' portrait. Are you beginning to remember something? she asks. I recognize him as the man who visited me in the hospital, says Grant--why is he dressed like this in the portrait? It's not the same man, says Julia, it's one of his ancestors--come upstairs.
Will and Carolyn lead Barnabas into the secret room behind the drawing room bookcase. In your own time, you must have spent plenty of time in here, eh, Mr. Collins? taunts Will--sit down. I must have my coffin, says Barnabas. You'll have it, sit down! commands Will. Barnabas sits. If you'd only let me go, laments Barnabas. Don't start that, the author warns. Will, listen to him, murmurs Carolyn. Shut up, Will says. Please listen, pleads Barnabas--you have enough of my story now. I will decide when we have enough, sneers Will. You can write your book, says Barnabas. Oh, sure, says Will--and let you free? There's only one thing I want, says Barnabas sorrowfully--to go back to my own time, to the Collinwood I know. Let him go, Will, says Carolyn. He's got no chance of getting back, says Will. I have, says Barnabas. You don't know how to make the change, insists Will. If I could only get to that room! begs Barnabas. Hah--nothing will happen, says Will.
I found it in the attic, says David--is anything wrong with my having it? Of course not, says Barn, but I've never seen it before. I only found it yesterday, says David, isn't it neat? Barnabas agrees--it's in very good condition for something that's been stored away in the attic. It was all wrapped up in paper, says David. Barnabas returns the ship to the desk--congratulations on your splendid acquisition. Thanks, says David.
Quentin looks very sad and defeated. He pours himself a drink. Barnabas enters the drawing room and says he wants to talk to him. Not now, says Quentin. It must be now, Barnabas tells him--the murder of that girl in the woods must be dealt with. Let the police deal with it, insists Quentin, sipping his drink. Barnabas asks what Hortense meant by headless creature? Just what makes you think I know anything? asks Quentin. Because Julia and I both saw it in your face when she told you about the girl's dying words, says Barn. You were both imagining it, says Quentin.
Melanie dreams: A grieving Flora asks, what did we do to deserve this?--God, how much must we go through?--do we have to go through this now?--when will the punishment end? Quentin stands in the doorway, Melanie's body in his arms. She's dead, he says.(http://www.dsboards.com/epimgs/1210-3.jpg)I can't believe it, says Flora. She died in my arms, says Quentin. You shouldn't have gone into her room, says Flora. I had to, says Quentin, staring into Melanie's dead face--she was crying, I heard her. Take Melanie's body to the village and burn it, orders Flora--she had the plague!--she had the plague--she must be burned--it's not our fault--for everyone's sake, she must be burned...burned...burned! Melanie awakens, screaming. Quentin runs in and finds Melanie holding her head as if in agony. Burned, burned! she cries, I'm, burning, burning, don't touch me.
Has anyone ever told you that you have a great smile? asks Sam. David shakes his head and says no. You have, and I'd love to paint it someday, says Sam. Are you an artist? asks David eagerly. Am I an artist? asks Sam--son, I can take a raging storm and turn it into something beautiful!--I can take a buttercup and breathe eternal life into it! You must be a genius! says David. Not quite, says Sam
Liz begs Vicki to help her, but Vicki says the only thing that's going to change all this is if Liz decides not to marry Jason.(http://www.dsboards.com/epimgs/0254-1.jpg)Liz insists she only wants to have some happiness, a life of her own, but she doesn't sound very convincing, and Vicki doesn't buy it. Liz loves Carolyn more than anything, but there doesn't seem to be a solution to this.
Ben assures Barnabas grimly that Angelique can make anything happen. Why did she do all this, demands Barnabas. Because she loves you, says Ben. Love? explodes Barnabas--she ruined my family!--no, she did this out of hate, and I'll teach her the meaning of hate! Be very careful, warns Ben, but Barnabas seems far less concerned for his own safety than finding a way to kill Angelique--revenge isn't sweet for Barnabas, but a necessity. Ben offers to do it himself, hide in the woods with a gun and shoot her, but Barn insists he must do it himself--Angelique took his reason for living away, and it's payback time!
Tony discusses with Stokes the events that transpired in the basement of the Old House; they also talk over their strategy for destroying Cassandra (Angelique), which Tony believes impossible.
Angelique has Magda join them and asks her to deal with "a small matter of theft" for them-- she describes the scarab to the gypsy, who is reluctant to help. You have no choice, insists Angelique-- I will tell Barnabas you were out of the house when Laura visited him this morning-- my feeling is, he'll kill you. Barnabas can't kill Magda, says Quentin-- if she dies, I'll remain under her curse. I can't be involved in that, says Ang--I only care that Barnabas be protected, whatever the cost or who must be destroyed-- Barnabas must be kept safe forever!
Julia holds a landscape that she and Liz found. It's incredible, remarks Julia--it looks almost exactly like the Tate I found last week--the sky is painted exactly the same way--Harrison Monroe, 1968. I bought it at a charity auction last year, says Liz--thank goodness it was a worthwhile charity, when I got home with it, Roger told me to come right up here with it, and I did. They chuckle. I wish I knew more about paintings and artists' techniques, says Julia--it seems inconceivable that two artists could paint so much alike. You're asking the wrong person, says Liz. Julia asks, may I take the painting to Stokes? Why the interest in Tate? inquires Liz. Professor Osmond said he died 10 years ago, says Julia, but this says 1968, must be some solution!
I'll do anything you say, anything you want, I will. Very well, relents Barnabas--gather all you have written--and burn them. Burn my book? asks Will, horrified--oh, no, you don't know what a book means to a writer. A writer!--all you did was copy down what you forced me to tell you, says Barnabas--now gather the book together and burn it! No! cries Will. It's time you do precisely what I tell you to do, says Barnabas. No, insists Will. "Is that your final answer?" demands Barnabas (hey, Regis stole that for his game show)! Barnabas advances threateningly on Will; when they are face to face, the writer agrees--all right, I'll do it--I'll do anything you say. Nothing must disturb the sleep or sully the name of that other Barnabas Collins who died in this time, insists the vampire--"Come--we will burn the book together!"
Leticia comes downstairs at Collinwood at the same time Julia returns. Come with me, insists Leticia. I can't, says Julia, not now. I found the headless body, she reports to Julia--it won't move, it just lies there!
Catherine waits in her room for Morgan. When he joins her, she kisses him. He sits on the bed with her--we're going to be going downstairs again soon, he says--there's something I want to tell you. What is it, darling? she asks. If you pick the losing slip, he says, I must insist you let me take your place in that room.
I thought you said you were in the middle of a meeting, says Carolyn, carelessly tossing her coat on a chair. I am, says Burke. Where is she? asks Carolyn--in the bedroom? You are a girl with a suspicious, salacious mind, teases Burke. (I like his vocabulary.) If you must know, I really couldn't care less, she says, obviously lying. Good, then we can relax together, he says--why don't you sit down? of course Vicki Winters might be a little upset by it! says Carolyn nastily. Oh, I see, he says, you're worried about Vicki's interests--I'm glad to see she has such a good friend in you. My cousin's governess is no friend of mine, says Carolyn, but she's obviously very close to you! I see, says Burke, smelling the jealousy, you found out I drove her home this afternoon, is that it? Maybe, says Carolyn viciously, anyway, she'll be very happy t know about your little meeting! I'm glad you reminded me, says Burke, going to the closed kitchen door--honey, you can bring the drinks in now! He opens the door, remarking that his friend is a little shy. David comes out, drinks in his hands, and he hands one to Burke. Seeing his cousin, he asks, "What's SHE doing here?" Carolyn, surprised, asks David what HE'S doing here. Visiting my friend, says David. Does my mother know you came up here? demands Carolyn--you know how she feels about Mr. Devlin, you know she wouldn't want you to visit him. Then what are YOU doing here? asks David. Very good, Burke praises the boy--your turn, he tells Carolyn. Angry, she stomps a few feet away.
Roxanne enters Collinwood. Barnabas calls her name. Excuse me, Mr. Collins, she says formally. Mr. Collins? he repeats--Roxanne, what is it? Hurt, she asks, is it true?--"Are you married?" Yes, he admits, shame-faced, it is--I am. Her mouth drops open, then closes. I must go to my sister, says Roxanne. Forgive me, begs Barnabas, there's no possible way for me to explain this. She agrees--there's not, is there?
Nathan and Millicent giggle together on the terrace. They've apparently been meeting in secret, and he's been quite touchy-feely with the airheaded heiress. She shocks herself in his presence, she says breathlessly. He tells her she's falling in love, but she wisely points out that he always talks about her loving him, but never the other way around. (Millicent is sharper than she appears.) He wants her to invite him to tea, but she insists that's flaunting the rules, and he says he hates rules.
Maggie is puzzled about why she keeps thinking of this place, but Willie puts an arm around her and leads her to a chair. He's been lonely, and he wanted someone to talk to, and bam, she showed up. He's been thinking a lot of her lately. He wants them to get together. Perhaps, she responds, which pleases him greatly. He leans in close and asks her not to wear those earrings next time she visits--they look too valuable, she might lose them.(http://www.dsboards.com/epimgs/0514-1.jpg)He wants her to take them off and put them in her purse, perhaps they can take a walk, then go downtown. Once the earrings are off, the trance is broken; Maggie switches gears--she has to go home, she tells him. Willie is confused, did he say something wrong? No, she says. She can't understand the strange feelings she has while in the Old House. Willie again asks her to stick around and keep him company, but she races out.
Cottage - Laura thanks Ra, seeming weak. Dirk comes in and holds her, urging her to rest on the sofa. She looks around, talks to Ra--you've helped me so many times--but I've asked for your help too often, she says--and now you want me back. Dirk tells her, you're imagining that someone wants you--you can't go away now, I won't let you. You can't stop it, she tells him, you can't waste my time--I have so little left with so much to do.
You're new here, says Julia, new to our ways--of course you're entitled to whatever opinions you have--but I would caution you not to try to impose yourself on this house too quickly. What exactly do you mean by that? asks Catherine I mean, says Julia severely, that you are not the mistress of this house. Is it your impression that I am trying to take over the family? demands Catherine. You are an ambitious person, says Julia--there's nothing wrong with ambition, as long as it doesn't affect the rest of the family(http://www.dsboards.com/epimgs/1212-2.jpg)--we don't like change, we will not accept it. Catherine, her forehead creased, says, "I see--are you finished?" Not quite, says Julia, since you objected so to the lottery, I might assume you would do something to change its outcome--you probably think you're alone in feeling sorry for Gabriel--that's not true--we all feel very sorry about the ordeal he has to face, but not one of us would stop him from going into that room. And you think that I might, suggests Catherine. Yes I do think you might, says Julia--you would regret it--the curse must be appeased, and it's our duty as a family to appease it--there's no other way. Having made her point, Julia leaves.
Events spiral out of control as Sam orders Maggie behind him. He holds up his cane and reminds Adam he's his friend. Friend, repeats Adam. Don't harm me, says Sam, I wouldn't harm you. Adam is getting calmer.(http://www.dsboards.com/epimgs/0515-1.jpg)"Maggie is my friend," says Sam, wanting Adam to repeat it, but Adam insists, "KILL MAGGIE!"
Barnabas paces the drawing room. Edward comes in and asks if Laura has come downstairs, then assures him that the children are safely hidden from her. I should have known she was plotting something, he says--why else to come back to Collinwood?--doing something to the children would hurt me the most--Laura can look for them, but she won't find them. She has unusual powers at her command, warns Barnabas. I can't buy that, says Edward--she's disturbed and dangerous, but supernatural powers?--absurd! Take me word for it, says Barn, and be prepared--her powers are weakening, but she's desperate and has little time and will use what powers she has to communicate with the children. How, if she doesn't know where they are? asks Edward. Take precautions, cautions Barn--no fire or flames anywhere this evening--extinguish everything, but use electricity wherever possible. Absurd, insists Edward, but allows Barnabas to do what he suggested.
Willie, who doesn't understand what's going on, starts chipping away at the mortar with a hammer and awl. Julia stands back, does nothing, and keeps yelling at him to hurry. Willie suddenly stops and grabs his neck. He felt a strange draft. Julia insists he continue, but he stops again, shivering with fear-someone touched me, he says. A chair falls over nearby, then a box. Willie freaks out. Trask's laughter fills the basement; he appears and tells them to leave or they will die. The apparition disappears. Julia begs the spirit of Trask to listen to her, appealing to him as a man of God not to murder. If he must destroy, he should destroy evil. Apparently interested, he reappears.(http://www.dsboards.com/epimgs/0516-1.jpg)Julia begs him to go after the witch, who has survived through time--Cassandra Collins--destroy her! Trask disappears, on a new crusade now.
and now you yourself have seen evidence of Laura's supernatural powers. Edward admits it--I never believed it could happen--is Laura gone for good now? I assume she died in the room, says Barn, consumed by her own flames. Flames that left the children untouched, marvels Edward--and what became of Laura's body? The circumstances surrounding her death make it impossible to explain by ordinary logic, says Barn. And yet, says Edward, I must explain her death for the children's sake--they don't believe it was their mother in that room, but an incredibly old creature they had never seen before. It WAS their mother, insists Barn. Edward frets, how will I ever explain that to the children?
... The first example could possibly show up for the 7th ...
If we are seen together now, it will be very difficult for me, she says, sitting down. Very well, he says--I'll leave on one condition. What's that? she asks. Agree to see me tonight at nine o'clock at the gazebo, he says. Don't be absurd, she says, that's impossible. It's essential that you see me, he insists. I can't afford to be seen with you, she says. Is Morgan really watching you that closely? he asks. Can't you understand? she asks. I understand only one thing, he says, sitting beside her, and that is that you must see me--and I will not leave here until you promise you will. Very well, she says--yes I'll come.
... The first example could possibly show up for the 7th, or perhaps the 10th, or perhaps not. ...
there are police and townspeople out looking for you everywhere--if you was to go out now, you'd get yourself killed--please stay a bit longer--Joanna will be back--I'm sure of it. All right, he says, if she does, what is she going to tell me--that Daphne's dead?--alive?--or simply that she's gone forever? I believe in fate, says Leticia, and I believe that fate meant for you and Daphne to be together, just as it meant for me and Desmond to be together. You really believe that? asks Quentin.(http://www.dsboards.com/epimgs/1190-2.jpg)Yes, she says softly. Why? he asks. Because I must, she says--if it is to happen--she begins to cry. Quentin hugs her.
How did you know she was here? asks Barnabas. I saw Willie in the crypt, reveals Shaw.(http://www.dsboards.com/epimgs/1107-1.jpg)Tell me exactly what you know about her, commands Barnabas. There's only one thing you need to know, says Shaw--he whips off the scarf around his throat to reveal that he is Roxanne's victim. You are in her power, says Barnabas. Not anymore, says Shaw, not since Maggie--I hate her--I'm going to destroy her! He turns back to the coffin to do that very thing. Barnabas struggles with and stops him, taking the gun away from him. She'll kill Maggie! cries Shaw. I won't let that happen, Barnabas assures him. Why did you bring her here, why? asks Shaw. That's no concern of yours, says Barnabas, you must know that you cannot try to destroy her--do you understand that?--I will take care of Maggie, she will be safe
I can't believe that Julia's gone-I'll never forgive myself for letting her stay here. Stay here?--what do you mean? asks Maggie. Of course you wouldn't understand, says Barnabas, perhaps I'll tell you someday. Maggie picks up the scarf that Roxanne used to tell them Julia's fate--it would be a supreme irony if Quentin were to be freed by Hoffman, of all people, she says. "Good Lord!" says Barnabas. "What a fool I've been!" (Hurray-light has dawned!) Maggie asks, what do you mean? The scarf, he says, pulling it into his hands-the scarf belongs to Hoffman-it's Hoffman who's dead!--Julia may still be alive! He rises from the chair. What are you talking about? she asks. Of course you wouldn't understand, he says, and there's no time to explain-you simply must take my word and listen to what I have to say-there's still the possibility that Julia is still alive. Maggie doesn't get it. Listen, he advises, don't try to understand-go upstairs--at the end of the corridor, you'll find a closet with some women's clothes in it-bring it down here and wait for me-I'm going to get Roxanne
Collinwood - Barnabas paces the drawing room. Julia returns, medical bag in hand. I came from the cottage where I examined a very weak Sabrina, reveals Julia. Barnabas apologizes. "Why did you do it?" demands Julia--you gave Quentin your word that you wouldn't go to her again. I stayed at the Old House and fought the urge to leave, says Barnabas--Sabrina came to me. And you couldn't help yourself, accuses Julia. Ashamed, defensive, Barnabas asks, do you think I do this by choice? No, she assures him, I am aware of that--I know what you're going through, and that the injections are responsible. Don't blame yourself, he urges. Until the effects wear off, you're in danger of exposure, warns Julia--people in the town are worried about the attacks now. And you're afraid I'll kill Sabrina before the effects wear off, says Barnabas, I'm quite aware of that. There must be something we can do, says Julia desperately--some way to control your urge for blood.
Aristede describes how he saw Blackwood strangle Evan with the chain. Why would he would kill Evan? Asks Trask. The man will kill anyone, everyone, insists Aristede--you must hide me! Put my plan into operation, orders Trask, then you will get away. He'll come after me! protests Aristede. Did he follow you? asks Trask, frightened. No, says Aristede. Then you're safe for the moment, says Trask. No, says Aristede, never, he always knows where I am--he's a monster from hell! That is often said, but seldom true, says Trask I'll hide you where you'll be safe until you are needed. They exit the drawing room.
697
2 AM - Barnabas stands on the landing at Collinwood, perplexed--somewhere in the house must be a room I haven't searched, haven't found.
... The first example could possibly show up for the 7th, or perhaps the 10th, or perhaps not. ...
I'm afraid it's a perhaps not because it won't be on the 10th either because I just found a quote for that day that fulfills my new criteria...
| ORIGINAL SERIES STORYLINE | | | ALTERNATE DS OR ORIGINAL |
| ===================================| | |=================================== |
| Vicki's Arrival-Burke's Revenge | -Matthew Morgan | -Introducing Josette | ===================================| | | hoDS, NoDS, DS 1991, | DS 2004 Pilot, DS 2012 | |=================================== |
| The Return of Laura | | ===================================| | | hoDS, NoDS, DS 1991, | DS 2004 Pilot, DS 2012 |=================================== |
| Blackmailing Liz-Intro to Barnabas | -Kidnapping Maggie-Intro to Julia | ===================================| | | 1841PT | |=================================== |
| 1795/1796 | | ===================================| | | hoDS, NoDS, DS 1991, | DS 2004 Pilot, DS 2012 |=================================== |
| Vicki/Jeff-Cassandra/The Dream | Curse-Adam/Eve/Nicholas | ===================================| | | hoDS, NoDS, DS 1991, | DS 2004 Pilot, DS 2012 |=================================== |
| The Werewolf-Quentin's Ghost | ===================================| | | 1841PT |=================================== |
| 1897 | | ===================================| | | hoDS, NoDS, DS 1991, | DS 2004 Pilot, DS 2012 |=================================== |
| Leviathans | | ===================================| | | hoDS, NoDS, DS 1991, | DS 2004 Pilot, DS 2012 |=================================== |
| 1970 Parallel Time | ===================================| | | 1897 |=================================== |
| 1995-Gerard and Daphne | -Summer of '70 | ===================================| | | hoDS, NoDS, DS 1991, | DS 2004 Pilot, DS 2012 |=================================== |
| 1840/1841 | | ===================================| | | hoDS, NoDS, DS 1991, | DS 2004 Pilot, DS 2012 |=================================== |
| 1841 Parallel Time | ===================================| | | 1897 |=================================== |
| He crosses to a portrait on the other side of the room. BARNABAS Naomi Collins, isn't it? LIZ Yes. The first Barnabas's mother. From his pocket, he takes a small velvet box. BARNABAS I so hoped there would be someone like you to wear this. He hands it to Liz. LIZ Why, thank you. CAROLYN What is it, Mother? She opens it, is astonished. LIZ Look at this. Isn't it beautiful? She holds up the necklace. It is the same one that Naomi wears in the portrait. CAROLYN I've never seen anything like it. CONTINUED Rev. 4/14 Rve. 4/14/70 86 CONTD ROGER PAN TO The missing jewels. Naomi's necklace. CU Rog Barnabas, where did you find them. SLOW PAN PAST JULIA LIZ TO CU It's absolutely magnificent. PROFILE BARN ROGER Legend had it they were buried in the revolutionary War and never found again. BARNABAS Legend is so much more romantic than reality. Naomi gave them to my ancestor when he left Collinwood. They were his share of the estate. CAROLYN Mother, you must wear them . ROGER I remember reading she gave him the Old House too. BARNABAS I'm so looking forward to seeing it. The first Barnabas wrote a fascinating memoir about his life there. I've always dreamed of living in that house. |
Barnabas observes his father is trembling. He asks if Joshua has the gun and silver bullets, and when he nods, tells him to use it. Joshua can't, not here or now, but Barnabas says he must, or he'll go on destroying.
After realizing she's been deserted by Sarah, Julia finds herself locked in the Collins mausoleum (although she could have probably crawled underneath that gate, it looks like enough space).
In the hospital, Liz tells Carolyn she's beginning to remember, she knows she is. Carolyn says please, don't even try, the doctor says she must rest. Liz says she must remember what happened, or she can't rest. Carolyn reminds her that just before she got sick, she was at Aunt Laura's cottage, and something must have happened to you there, but please try to sleep--she'll be right here. I was asleep, and dreaming, says Liz, Dreaming about Laura at the cottage. You called to us, encourages Carolyn, and said you remembered. I woke up, continues Liz, I called, yes, I remembered about the choir, I got up out of bed, there was a storm someone in my room, I couldn't see who it was. Seeing her mother is getting upset, Carolyn tells her to rest, just a little while, then she'll help her remember. Liz promises to rest, but first she must remember---please help? All right, if you promise to stay very calm, says Carolyn, who then says she, Roger and Vicki heard Liz calling, saying she'd remembered what had happened; but by the time they got to her room... Liz remembers--she got up--there was something in the corner, she could see it, it was so dark, a shadow, a shrouded fog, she couldn't see who or what it was, at first she thought it Vicki, Carolyn or Uncle Roger. It was Aunt Laura, wasn't it? asks Carolyn. Not the Laura they think they know, says Liz, she can't describe her face, it was distorted with hate, eyes blazing, Laura in some other form, almost some other being, horrible, you can't imagine what she looked like.
you won't feel a thing--I told ya it would be an easy death--did you ever see an animal led to the slaughter--they don't know what him 'em. I'm not an animal! Says Vicki, gazing up at him, I'm a human being--do you want to have my blood on your conscience for the rest of your life? The widows are out for blood tonight! insists Matthew. There are no such things as widows, says Vicki (yes there are, but not ghostly ones, I guess she means)--they don't exist! I didn't think so before, but now I do, he says--it's all around us--tellin' me I have to kill ya--and I gotta obey! You don't know what you're doing! cries Vicki as he leaves the secret room. Matthew, please! she begs. I gotta obey! he says. No, you don't! she wails. He goes to the stairs and grabs the banister. I've gotta obey! he repeats. No, Matthew, it's wrong, you mustn't, please, Matthew, please, Matthew, please! He leaves the house. Vicki begins to cry. Somebody, please help me! she begs, somebody, please!
| 80 INT - SARAH'S ROOM 80 It is obviously a child's room. Carlotta stands on the other side of the four poster bed. She is straightening the stuffed animals that are propped there. 80 CONTD CONTD 80 QUENTIN I saw a little girl in that window. CARLOTTA Little girl? Quentin crosses to the window and looks out. QUENTIN I was outside -- CARLOTTA I know. I saw you from the window. QUENTIN But I didn't see you. I saw a child...holding a teddy bear... He looks around the room. CARLOTTA Yes, this is a little girl's room. It was Mrs. Stoddard's when she was a child. It must have been a trick of light. FLASH CUT - LITTLE GIRL IN THE WINDOW as he remember's what he saw. QUENTIN - CLOSE-UP QUENTIN Yes , it must have been. Then not knowing what else to do QUENTIN Well I'd better get to work. He EXITS toward the tower as she stands there watching him go. |
| KITCHEN: A dismayed Mrs. Johnson watches as the Sheriff questions Willie: Where did he go after he dropped off Miss Winters? Willie protests he went back to the stables and got drunk. Patterson asks, why is he nervous? Where has he been for the last three days? Willie claims he was 'working'. Neither the Sheriff nor Roger believe him, but Victoria comes to his defense. Patterson asks Willie where he was working. Willie, by this time, has dissolved into tears, protesting he "doesn't feel too good". Barnabas arrives and is introduced. Barnabas confirms Willie's story - he heard in town that Willie knew the property and was available for work. He apologizes if he's caused any problem. Roger comments it would have been nice if they'd been told. Willie apologizes to all: he knows he hasn't been a good worker; he knew Roger was about to fire him, and that's why he took this job. Roger warns Barnabas, ''You don't know what you're taking on." Barnabas, "I somehow feel Willie wants to make a true start - don't you, Willie?" Willie agrees. Mrs. Johnson is pleased by this turn of events. Barnabas, warningly to Willie, ''We have much work to do." Patterson agrees that Willie can go with Barnabas. As they're leaving, Barnabas announces they're making splendid progress. He's already moved in. He invites them all to visit. He takes his leave. Mrs. Johnson admiringly, "Barnabas Collins must be a wonderful man." |
Parlor - Flora explains to Melanie--we didn't want to lock the girl up, but if we hadn't come in at just the right minute, Justin would have killer her--he wasn't being himself--we had to lock her up, or she'd have gone to the police--don't you understand?--they would have taken Justin from us--we didn't tell you about it because we knew how much you loved Justin. You shouldn't have locked Stella up! cries Melanie. What were we to do? asks Flora--we were so frightened--try to understand. I do, says Melanie--but it's wrong. We know that, Julia assures her.(http://www.dsboards.com/epimgs/1204-1.jpg)But you just put the gag back in her mouth, locked her in there again! protests Melanie. Do you want the police to be here tomorrow, the day of her father's burial? asks Julia. They can do nothing to Papa now! says Melanie. They can to Flora, and to me, Julia reminds her (busy ladies--burying the dead Trask, kidnapping Stella). Yes, says Flora, we're guilty of holding her captive. Her brother will never accept our actions, says Julia. They shouldn't, says Flora, we both know that--and she begins to cry, upsetting Melanie, who puts an arm around her, assuring her, I do understand, except you knew you couldn't go on keeping Stella in the tower room. We've tried to think of what to do, says Julia. You must do something now, says Melanie--her brother was here yesterday, and I promised I would help--please do something now--let her go, ask her not to tell. We will do something, vows Flora, after the funeral. You will let her go? queries Julia. Somehow, some way, says Flora--I don't know how, but we will--all I can think of now is poor Justin--she wipes her nose with a handkerchief. I know, Mother, says Melanie, but after the funeral, you must set her free! Flora looks at Julia, who regards her solemnly.
Angelique, having swiped Barnabas' toy soldier, stands in the drawing room. She questions Jeremiah about the toy, which he, amused, identifies as "a member of the Regiment," one of his nephew, Barnabas', favorite toys as a child.
| INT. GREAT HALL - COLLINWOOD - NIGHT He enters, transfixed, STARING toward the wall over the great fireplace. There, a magnificent portrait of BARNABAS COLLINS, the name etched on a gold nameplate dated 1788, hangs half- lit by the flickering firelight. ELIZABETH (0.S.) I don't believe it. VAMPIRE My apologies for the hour, but I couldn't resist any longer. The Vampire turns as Roger and Elizabeth comes down the stairs, gaping at their visitor. He is, in fact, a DEAD RINGER for the man in the portrait. BARNABAS (taking Elizabeth's hand) I'm Barnabas Collins. ELIZABETH Barnabas? You even have his name?¯ BARNABAS A tragic lack of imagination on the part of my parents. (kissing her hand) You must be my cousin Elizabeth. While Elizabeth is taken with Barnabas, Roger is suspicious. BARNABAS (CONT'D) (to Roger) And you... are staring. |
| Dark Shadows - M. Verheiden - 1/19/04 33. ROGER Roger Collins. You're in from...? BARNABAS England. I tried to get a message through, but I understand there's been a family emergency. ELIZABETH - My daughter, Carolyn. She was... injured. Bitten by some sort of animal. Barnabas tightens with surprise and regret. He had no idea Carolyn was a member of the Collins family. |
Liz's fear of premature burial persists as she talks to Barnabas. He tells her it's in her mind, which only supports her argument that there's something wrong with her. Suddenly her thoughts turn to David and Amy.(http://www.dsboards.com/epimgs/0652_53-1.jpg)She insists that they'll need a governess to replace Vicki immediately, in fact, tonight. She suggests that Maggie would be a good choice. (a waitress as a teacher? Only on the Collinwood universe!) Barnabas agrees to call her.
| CUT TO: EXT. COLLINWOOD MANOR - NIGHT Even at this distance, we can hear the anguished exclamations of -- BARNABAS (PRE-LAP) "Angel Bay!" |
| INT. COLLINWOOD MANOR (DRAWING ROOM) - NIGHT Elizabeth is alone with Barnabas, trying to sooth his melodramatic anguish, despite her own shock at the revelation of Angelique's true identity. BARNABAS The very audacity of the name summons vomit into the recesses of my mouth!. For it has as its proprietor the devil herself! ELIZABETH I always thought there was something a little off about Angie. BARNABAS Oh, if my vampire eyes were capable of tears, I would flood the earth with my weeping! ELIZABETH Barnabas, you've done more for this family in ten days than I have in ten years. BARNABAS Angelique means to destroy us, Elizabeth. She hates me. ELIZABETH "Hate?" No, if she merely hated you, she would've killed you. A curse takes devotion. BARNABAS Fate sees fit to punish me forever! Has the infernal calculus of grief any limit? Any end? ELIZABETH Barnabas... BARNABAS What our ancestors did to incur such wrath I know not, but why must I bear the rotten fruit of our family's cursed tree? He throws himself onto the organ; buries his head in his hands. |
| BARNABAS (CONT'D) My parents, taken. My true love, taken. ELIZABETH And what did you do? BARNABAS (a beat, then) I tried to kill myself by jumping off a cliff. ELIZABETH You fought, Barnabas. When your parents were killed, you fought on! Barnabas raises his head. BARNABAS I did, didn't I. ELIZABETH You tried to keep the family business afloat! Tried to find the source of our curse and extinguish it forever! A raised head becomes a full-on raised body. BARNABAS My God...you're right. I fought for the survival of our name. ELIZABETH You fought because it's in your blood! |
Alexis draws back from the kiss, murmuring, "Quentin, please." He apologizes--I didn't know what came over me. Yes you did, she says, rising from the piano bench, and so do I--you thought I was Angelique, just like everyone else--it's been that way my entire life, as if I didn't even exist, she sobs, staring at the portrait--"But I did think that YOU, at least...(http://www.dsboards.com/epimgs/0987-1.jpg)"No, he says, it can't be. Why shouldn't you be like everyone else? she asks-- Julia Hoffman and Amy--they both think I'm some kind of ghost, and the way Bruno acted this afternoon... Bruno? asks Quentin. Yes, he was here, mostly out of curiosity, I'm sure, says Alexis. Bruno was here in this room? asks Quentin. He heard me playing a song of his, explains Alexis, and came in with all kinds of excuses, but what he really wanted to do was see if I was real! He won't come in here again, I promise you that, says Quentin. It really doesn't matter, says Alexis, I won't be here, I'm leaving--I really believed that you, of all people, believed who and what I was, but now... But I do, protests Quentin, I do--you're Alexis, and what I did just a moment ago was very stupid and meaningless--please forgive me and tell me you'll stay. I really shouldn't, she says, there's been nothing but trouble ever since I've arrived, I even caused your wife to leave you. It wasn't your fault Maggie left, he says. I wish I could believe that, but I still feel I shouldn't be here, says Alexis--maybe if I leave, Maggie will come back. I got a telegram from Maggie earlier today, says Quentin--she wants to think things through before deciding anything. With me gone, it would be easier for her to decide, says Alexis. Quentin looks odd. I'll miss not meeting Daniel, she says--I've looked forward to it so much, I can't tell you. She picks up the photo of Daniel and Quentin, gazing wistfully at it. You must stay, he insists, you have to--it would mean so much to Daniel-- please. Not nearly as much as it would mean to me, says Alexis--he's such a handsome boy. Then it's settled, says Quentin, you'll stay
Gerard caresses the mask--Leticia where did you get it? he asks. I found it, simpers Leticia. You're lying! he accuses, this must be worth a fortune--this gold and all these jewels. Jewels? she laughs, no they're pieces of colored glass!--it wouldn't fetch a farthing, it's just a plaything. Don't take me for a fool, he says, growing angry
I want to try, she says, help Chris--I don't care how much he tries to shut me out, I will--I thought of one way--get rid of Bruno--Chris won't mention it, but I know he's worried about the fact that Bruno knows all about him--and Bruno is waiting for Chris. Quentin sits on the bed. I wish Chris had killed him when Bruno captured him, says Sabrina. Don't wish him that, says Quentin--every life he takes gives him great pain--very great pain--and he looks as if he knows exactly what Chris is experiencing.(http://www.dsboards.com/epimgs/0973-2.jpg)He isn't to blame for that, says Sabrina. I know that, says Q--but the pain is still there. You have great insight, she says, seem to understand how others feel--please try to understand how I feel, she begs--Chris has forbidden me to get involved, but I feel I must.
Garth, holding his chain in both hands, enters Evan's house--I've come for the prisoner! He declares. Who are you, and what do you mean by barging into my house? demands Evan. Garth comes closer and says, I am THE LAW--tell me where the prisoner is! You're a madman, accuses Evan--get out! He was seen entering this house, says Blackwood--the penalty for harboring criminals is severe--justice must be served--he who obstructs justice will suffer--I will search until I find the criminal. You will not search this house, says Evan firmly--you're here illegally and I'm calling the police! I have one and only one warning for you, sir, says Blackwood--stand aside!(http://www.dsboards.com/epimgs/0878-4.jpg)Evan refuses. Garth wraps his chain around the lawyer's throat and throttles him unconscious.
Maggie comes in and tells Barnabas she wants to speak to him. She sends the kids upstairs. David asks if something's the matter, but she brushes him off. The kids overhear her telling Barnabas what happened. He reads the note and tells her he didn't want to believe it before, but Vicki must really be trying to contact them. What will they do? We can't leave the house, insists Barn--Vicki needs my help, and I must stay and help her.
Although Tony Peterson is in a big hurry to get to court, Julia tells him someone could die if he refuses to help her immediately, so he agrees. She wants to see her notebook, she says, to reassure herself it's all right.(http://www.dsboards.com/epimgs/0360-1.jpg)She's behaving just the slightest bit loony, but Tony complies and opens the safe; however, when he can't find it immediately, she accuses him of being in on the conspiracy, of stealing the notebook from her. He's so insulted that when he does find it and she checks the lock to make sure it hasn't been tampered with, he tells her to take the blasted thing with her, if she doesn't trust him. She has to work hard to convince him she does trust him, and he reluctantly takes it and puts it back in his safe, clearly thinking she's got some missing attic insulation.
She exits the secret room, terror on her face, and rushes to the front door. Matthew is there, and he comes toward her, his face awash in confusion, but doesn't attack her. You look scared, he says, you got no reason to be scared of me What? asks Vicki. I musta startled you when I came in, says Matthew, sorry, Mz. Stoddard, I just come to say good night. I see, says Vicki, hope on her face. I just finished chopping the wood, says Matthew, smiling, is there anythin' else you'd like me to do before I go back to my cottage? No, says Vicki, nothing. It starts to rain. It's a bad night, says Matthew, if I go back to my cottage now, I'll get soaking wet--would ya mind if I wait here a while?--the rain'll probably stop soon. No, says Vicki, you wait here--but I think I'll go to my room. Good night, Mz. Stoddard, he says, and she says it back to him, walking toward the door. Wait a minute! He says. What is it? she asks. This isn't the main house, he says, it's the Old House--what are we doin' here? Don't you remember? she asks, we're looking for something. I don't remember, says Matthew, what are we lookin' for? David, she answers, we thought that he was here, but he wasn't. I don't know what's the matter with me, he says, I can't think right. You're probably very tired, she say, you should lie down--you need a good rest. No, he says, I don't wanna rest, I don't wanna sleep, I just woke up from a terrible dream--I dreamt I saw the ghost of Mr. Malloy. I'm sorry you had a bad dream, Vicki tells him. Was it a dream? he asks, it seemed so real. Of course it was a dream, she assures him. It happened in the woods, he says, what was I doin' in the woods? That was just another part of your dream, she says. No, he says, it wasn't a dream, it was real, I was runnin' from the police! I've got to go to my room now, she says. I came here to hide, he continues, that's it--it's comin' back to me. Good night, says Vicki, and moves toward the door. Wait a minute! orders Matthew, wait! He closes the door she has just opened. He looks at her. You're not Mz. Stoddard, he says, you're Miss Winters, tryin' to get away from me again!(http://www.dsboards.com/epimgs/0125-2.jpg)She screams no in protest, but they struggle violently as he propels her toward the secret room, warning her that she'll never get away with it this time, never get away from him again. He pushes her into the secret room and follows her in.
What is it about the dream that makes us stop being ourselves? wonders Mrs. Johnson. Julia doesn't know, but she's bringing in Stokes to help them. Mrs. Johnson wants to go see Stokes, but Julia says it's going to take several days to figure things out--she'll call the professor today.(http://www.dsboards.com/epimgs/0497-1.jpg)Mrs. Johnson cries, what can I do until Stokes is ready? Control yourself, encourages Julia, but Mrs. Johnson feels that someone else is controlling her, and she can't. Julia went through it, too.
Judith asks if any of them have anything to say. Edward stands and says whatever will be said by him will be said in court. This surprises Judith, who calls it melodramatic. I'm going to contest it, insists Edward--it's inconceivable to me that Edith would leave Carl and me nothing! Contest it to your heart's content, advises Judith, you'll get no where. I thought you above treachery, Edward spits. Judith asks, who am I betraying? "ME"! he shouts--you know I was in line to receive the bulk of the estate, but while I was away, you worked on her, didn't you? Judith denies it. Edward says, you poisoned Edith's mind, suggesting she leave everything to you. Not true, says Judith, I merely spent all my time caring for the old woman--I'm the only one who did it. And out of the goodness of your heart, prods Quentin? hand over his heart. Because I loved her, says Judith. I think I'm going to cry, Quentin tells Edward. Shut up, barks Edward. I DID love her, rants Judith, more than any of you can claim! You didn't love her, says Edward--you catered to her, what do you know about love anyway--"You're a narrow-minded, selfish old maid!" (Oooh, nasty diss, Edward!) Now that the power has shifted to me, warns Judith, you'd better be careful what you say to me. Carl and Quentin, one morose, the other amused, listen as Edward promises Judith, I'm going to fight you! You'll lose, she assures him, and go on losing--I'm mistress of the house, I inherited the Collins fortune and you are ALL dependent on me. She's trying to tell us something Quentin says teasingly to Edward. "Can't you ever be serious about anything?" shouts Edward. No, says Quentin, sipping a drink--I congratulate you, Judith--I haven't seen you get this worked up in a long time! If he's going to do nothing but make snide remarks, get out of the house at once, says Edward. You have a short memory, Quentin reminds his brother, and asks Judith to re-read the paragraph that says he has a permanent home at Collinwood--even if she did give him the back of her hand financially. That's true, says Judith, Quentin can live here as long as he wishes, even I can't put him out. That must sadden you, opines Quentin. She retorts, I inherited the money and the estate--I'll find a way of tolerating you. I'm sure you will, he says. Judith begins to head off to have a word with the staff, a move which pisses off Edward. Quentin drinks some more. Judith reminds Edward he isn't dictating anything to anyone anymore--I am, and there will be many changes you should be prepared to accept. Quentin suggests that when she's done with the staff, perhaps they can all go upstairs and watch her write a check (LOL!) She walks up to him. "Keep it up, Quentin," she says coldly, "and in the end you'll end up with less than nothing." She sails off.
Judith takes a drink in the drawing room, surveying all that is hers. Edward, in night clothes, comes downstairs. He asks if this is to be a feature of the new regime--being roused by a servant in the middle of the night. I've made a decision and wants to inform you of it, she says. What was so earth shattering it couldn't wait until morning? Asks Edward. I've decided to move into Grandmother's room, it's only fitting and proper, says Judith. And you woke me to tell me about it? demands Edward. I thought you'd want to know about it, she says. How very considerate, he says sarcastically. Do you approve? She asks, a twinkle in her eye. It's such a weighty matter, he says sarcastically, I'd like to go up and sleep on it--"May I?" By all means, she says--don't be too upset with me--this is all so new to me, I want to make the most of it." "You're doing splendidly, sister, just splendidly!" he says sourly, and goes back upstairs.
I saw Burke today--he looks at her--I did see him, I had to talk to him about something. I wish you would stay away from that man, says Roger. I mentioned the pen to him and he said you hadn't given it back to him, says Carolyn. So much happened that night, I suppose it's entirely possible, says Roger. He said when you came to the office, says Carolyn, you were going to give it back to him, but when you reached into your pocket, you said you didn't have it with you. I believe he's telling you the truth, says Roger, I remember something like that. Oh, I hope you haven't lost it, she says, it was so valuable. I'll be happy to buy you another, he says. It was from South America, she says. I'll fly to Rio first thing in the morning and pick one up for you, how's that? he asks. I wish you wouldn't joke about it, she says, it really is my responsibility. For goodness sake, Kitten, it must be here in the house somewhere, he says, it's bound to turn up sooner or later. Hands on hips, Carolyn insists she wants it to turn up NOW! Shall I call the sheriff and tell him to mount a full investigation? asks Roger mockingly. Please! she says, exasperated. Yes, Kitten? he asks mockingly. She giggles, and he chuckles.
Vicki is still picking up items from the beach, and she finds something really interesting--a filigreed silver pen exactly like the one Burke gave Carolyn! She takes it into her hand, then looks around at the water and the rocks.(http://www.dsboards.com/epimgs/0075-5.jpg)Roger searches the couch cushions for the pen.
Keep going straight now, Vicki tells Frank. I wish you'd tell me what's going on, he says. We're almost there, she says. Almost WHERE? he asks. Where we're supposed to be going, she says. We're in the middle of no where, he points out. Stop, right here, she orders, please, now! He does so, making a face. OK, we're here, now what? he asks. I don't know, she says, I've never been here before. You've never been here before? he asks, perplexed. I just know that I must be looking for something, she says--it must be that house--look there, beyond the trees.(http://www.dsboards.com/epimgs/0153-3.jpg)That's a strange looking house, he says, can't you see those things in back of that house--they're gravestones--we're on the edge of a graveyard. She looks at him.
Maggie seems eager to be what he wants, but once he kisses her hand, she draws it away from his icy lips. This angers him. When will she forsake that common creature, Maggie Evans? Hearing her true self thus insulted, Maggie slams the music box closed and says, through gritted teeth, "NEVER!" She's Maggie Evans, that's all there is to it, so he might as well just kill her. Barnabas is just about to give her what she wants when Willie bursts in--her father is heading for the Old House and will soon be at the door! Maggie becomes instantly agitated and Willie grabs her and puts a hand over her mouth. Barnabas gives him a handkerchief to gag her with, and orders him to take her to the top of the stairs so she can listen to what he has to say. If she cries out or does anything, not only will she die, but so will her father! (Barnabas has rarely been meaner, but worse is yet to come).
Exterior, Old House - Barnabas holds the blackened stick Trask used in his ceremony. I don't understand what happened, he tells Angelique. She pretends not to know and asks what happened. He describes the odd circumstances--he heard Vicki calling fire and went to her room, but she wasn't there. She implies that Vicki's a witch, reminding him of all the weird things that have occurred. She is unaware of the barrier that has come between them--he answers her words, but in the manner of one speaking to himself. I don't believe in witchcraft, says Barnabas, but it would sure explain a lot.
At Collinwood, Elizabeth comes downstairs and approaches Cassandra in the drawing room. Why are you doing this to me? she begs. Cassandra plays innocent. Liz can't sleep, she only thinks of death, and it's because of Cassandra. The witch forces Liz to look into her eyes. After she's hypnotized, Cassandra gives her a sherry and says she hasn't had it bad yet--the worst is yet to come.
The music starts playing. Madame Findlay calls to the spirits--"I'm here to help!"(http://www.dsboards.com/epimgs/0649-1.jpg)The music suddenly stops, but she continues to speak to the spirits, assuring them, "I'm here to bring you peace, but if you won't help me, I'd like to leave." She tries the door, but it won't budge. Scared, she tells them she isn't afraid. The medium suddenly realizes someone died in this room. The air around her grows frigid. "You exist in darkness!" she accuses--"and you want me to exist in darkness!--APPEAR TO ME! APPEAR TO ME!"
He sarcastically tells Magda, it's an honor to see you--where were you at dawn, when you were supposed to be protecting me?--and where was Sandor? Magda, looking nervous, tells him to listen, but he's too angry to pay attention to her.(http://www.dsboards.com/epimgs/0759-2.jpg)I have news, insists Magda. News won't deter me, says Barnabas. It must be told, she says, and I will know how angry you can get. Realizing this is a serious matter, Barnabas shuts up and pays attention. Magda crosses herself and reports, "Laura--she knows about you." Barnabas grabs Magda's arm. Laura knows you're a vampire! reveals Magda, terrified. Barnabas is stunned--and perturbed!"