LOL, MB!!! And also Uncle Roger!!!
This one of the most dreamlike and nightmarish episodes ever, of course by Violet Welles.
At the burned-out studio, Barnabas finds a length of Blackwood's chain and Petofi's blue-tinted glasses, but no other trace of them. Charles tells him to come back later for Quentin's portrait.
In Quentin’s former room, Gregory Trask shuts the door to his prison to hide the bricks from his terrified eyes. He is haggard and very cold, and he is down to his last candle. When it goes, he realizes, there will be everlasting darkness. Is it day or night? I wish I could see. He recalls, I used to punish students by putting them in a dark closet. Some of them were afraid of the dark and would scream. Now he screams, Let me out! Please, let me out! I’ll be good, I promise! As if in answer to his plea, the phone rings. He grabs it and begs Judith, Please don’t hang up! You can’t commit murder! It’s evil! Smiling serenely, she replies, It was wrong for you to kill Minerva and Mrs. Curry. I didn’t kill them! he insists, unable to face his misdeeds even now. I’m not going to kill you either, or even come near you, Judith replies. Please let me out! he cries. Whatever I did to you wasn’t bad enough for you to do this to me! Thoroughly enjoying herself, she agrees and adds, Since you’re always right, I’ve left a surprise for you in the alcove behind the drapes, something that will brighten up your dark room. Then she hangs up. Trask checks the alcove--and finds the portrait of Amanda Harris. With an enraged scream, he smashes it to bits and stomps on it (though [spoiler]it will be whole again when Gerard Stiles’s zombies destroy Collinwood in 1970[/spoiler]).
I think that without actually having the portrait, Quentin has no way of knowing whether he might werewolf out at the next full moon. So he does have to look for it, and since the last place he saw it was in Collinsport, he does have to go back. So the only reason he goes to NYC is to say goodbye to Amanda in person. But I guess he has the money to make quick trips like that.
Judith's note to Tim--and her satisfaction in writing it--are equally chilling: At 4:20 p.m., Judith is in her room writing a note: Dear Tim Shaw: The plan I have been working on is coming along most satisfactorily and should be completed soon. Tomorrow I want you to come here, take down the bricks, and panel the anteroom so that it is completely cut off from prying eyes forever. She smiles with satisfaction.
Barnabas finds Kitty in Josette's room and tells her to stay there, promising that no harm will come to her. Oh yeah.
Trask’s final candle is just a stub. Soon it will be dark, he says. I don’t want to be alone in the dark. Minerva! Please come to me! I can’t come to you--I have no gun, no rope, no knife. _She_ took everything from me. When the phone rings again, he gasps, Minerva! Is that you? Let me come to you! Judith doesn’t bother to correct him. She says, You can come to me. All you have to do is go to the desk. Open the top right-hand drawer. There is something in it that is very valuable for you. Go find it, Gregory. Do what every you want with it. It is all yours. She hangs up. Nearly mad, Trask opens the drawer and finds a revolver. He takes it out and stares at it.
Judith is surprised but takes it in stride when Barn announces that he's going to marry Kitty, who is struggling not to let Josette take hold of her.
Barnabas has kept his ten o’clock appointment with Charles--but Charles has not. As Barnabas searches the ruins of the studio, he finds Charles has left a note: By the time you read this, Barnabas, I will be far from Collinsport. My work has not been going well here, and I suppose it is time to move on, to find new scenes and subjects. Sorry about Quentin's portrait. I know you will understand. I do understand, Barnabas mutters angrily as he crumples the note and throws it to the floor: You hated Quentin, and this is your revenge.
Judith makes one last phone call, but the phone in Quentin’s room rings and rings. Trask is slumped in the chair at the desk, the gun still clutched in his hand. At last he has made Judith a widow. No living eyes will see him again until 1969, when David and Amy find his skeleton. (Perhaps the ghostly Quentin only wanted them to clear away the clutter.)
Josette’s music box continues to play as Kitty paces around the room. [The last view of Josette's music box reveals that it is not the same as the music box we’ve seen before.] In Josette mode, she thinks of Barnabas as a stranger she’s about to marry. Why isn’t he back? she wonders. I must find a more suitable dress. She opens the trunk at the foot of the bed and takes out Josette’s wedding gown. She holds it up to herself, then becomes Kitty again. No! she screams. If I put this on, it will make me Josette duPres forever. Practically in tears, she calls to Barnabas once more. Walking in the woods toward the Old House, Barnabas hears Josette’s voice in his mind and hurries. We see that Kitty is now wearing Josette’s dress, but she is still fighting. As she tries to concentrate, she steps closer to the portrait, unaware of the danger. What’s happening? she asks, but it’s too late. Before she can say or do anything more, she is floating up and back, fading into the portrait. Barnabas hurries into the room, calling, Kitty! Kitty! He reaches up to take her hand, but she is already dissolving into the portrait. She reaches down to him, but he cannot stop her. He watches as she fades until only Josette’s portrait remains........
