Yes, there are some nice shots scattered throughout this part of the story. And thanks to whoever pointed out the wonderful use of lighting--was that you, MT?

It's a strange thing about this story line. The first time I saw it, when it was in syndication on SciFi, I totally bought the whole body-switch maneuver, I think in large part because of the amazing performances by TD and DS, especially as we see all the consequences of the switch unfold. Without the two guys, it would have been much harder to believe.

Maybe Aristede is under orders not to leave Petofi unguarded at this crucial moment. But it is pretty silly that he doesn't try harder to keep Beth from escaping.

Yes, 1991 took itself too seriously. Although (OT, I know!) I thought Roy Thinnes was great!

Aristede returns from somewhere. No wine, Petofi says sternly. Why? Aristede asks. Because tonight will be the most important night of our lives, Petofi replies. More important than the night we arrived at Collinwood, more important than the night I found you shivering with cold on the Embankment in London [though we will see a different story in ep. 877], more important than even the night that I found this. He extends the Hand toward Aristede. Aristede sees that the ring is gone. It turns out that Petofi is waiting for Quentin and gets annoyed when he perceives that "she" has stopped him from coming.

"She" is not Angelique but Kitty, who finally winkles Barn's name out of him. She notices that he is wearing the ruby ring and is relieved to hear that he hasn't had it long. My husband wore one very much like it, Kitty replies--no, it was the same! It can’t be, Quentin protests as he pulls away from her. No, of course not, Kitty agrees, calmer now. That wouldn’t be possible. Quentin asks, Do you happen to know Count Petofi? No, she lies. I would remember, Quentin. I never forget names--never! Her vehemence surprises him.

Beth returns from somewhere, and the count retires to meditate. Aristede continues to treat Beth as his own personal underling and is very coy about what's going to happen to Quentin, except to say that it should amuse Beth. Petofi asks for her, and Aristede is annoyed at being ordered to leave. I am going to ask you a most important question, Petofi tells her. How do you feel about Quentin? I hate him! Beth declares. You don’t care what happens to him? Petofi asks. No, Beth replies--he is going to marry Angelique! You can stand by and watch whatever I think necessary to happen? Petofi asks. Beth answers yes. Petofi tells her, In the morning you will be very happy, for you will be avenged. Aristede returns. He is here? Petofi asks. Aristede nods yes. Remain in this room and be very quiet, Petofi orders them both. You know what the word is, Aristede, and what you are to do? Yes, Aristede replies. Good, Petofi says. Good luck, Aristede says, bowing. I don't believe in luck, Aristede, the count replies. It is a poor substitute for will. Aristede smiles at Petofi, then turns to smile triumphantly at Beth.

Quentin finally arrives. Despite his protests that he doesn't want the ring, Petofi insists it's a gift. Quentin asks if he knows Kitty, and Petofi replies that they met along time ago, but Lady Hampshire must have forgotten. With sudden insight, Quentin realizes that Petofi and Kitty knew each other very well and wonders if the ring is giving him second sight. Then he wonders about the price he's to pay for the portrait that protects him. On cue, Aristede emerges with the portrait, now framed again. Look at that face, Quentin says with disgust. Every time I look at it, it looks uglier and harder. It’s your imagination, Petofi insists. Look at the shadows under the eyes, Quentin comments--it wasn’t like that when Tate first painted it. He squints as if his own eyes are bothering him, then raises the hand with the ring to rub his forehead. What is it? Petofi asks. My eyes, Quentin says as he covers them with his hands. I can’t see!

Quentin is near panic. Turn around, the count tells him. Can you see me? I can see only an outline, Quentin replies. You will see, Quentin, Petofi tells him. Close your eyes. When you open them again, you will see as clearly as Quentin Collins ever could. Close your eyes! Quentin obeys, and Petofi touches them with the Hand. Now open them, he orders. Again Quentin obeys, and to his joy, his sight is restored. I can see! he exults. How did you do that? he asks heatedly. Nothing like that has ever happened to me! Don’t take it too seriously, the count replies with a smile. I gave you that little demonstration to show you more of my powers. I advise you to take my advice without argument for once: Go back to Collinwood, go to bed and get some rest. You are exhausted, and I need rest. Tomorrow morning, everything will be very different. I mean it--it will be! Why do I believe you? asks Quentin, somewhat dazed. Because I am right, the count replies. Not another word out of you. Shall I send Aristede with you? Would you like company on the way home? [As if Quentin wants the company of the man who tried to kill him!] No, I’d prefer to be alone, Quentin says. Yes, I understand, Petofi says. Tomorrow we shall meet again, Quentin tells him. We will get everything clear as to exactly what I owe you. Petofi agrees: If you want to talk tomorrow, we will. We will, Quentin promises--I mean it! Tell me tomorrow, Petofi repeats. Quentin goes upstairs and leaves.

Petofi calls to Aristede, who practically bounds up to him. How is it going? Aristede asks. Brilliantly! Petofi exults. Far more brilliantly than I even dared to imagine! Nothing can stop it now! Nothing!

Kitty is still in the drawing room. Apparently she has been reading. Holding her book, she closes the french windows, then puts the book down. when Quentin returns. She greets him politely and asks him, Will you join me in a drink? I’m being very forward, but I think it would help me to sleep if I had a brandy. Staring at her sternly, he asks, What are you _really_ doing here? I beg your pardon, she says as she turns to look at him. He comes back to himself and muses, I wonder why I asked that. But the next moment, he is repossessed and says, Yes, of course--Gerald Soames died penniless, and you’ve come here to marry Edward--and all his money. Kitty stares at him, horrified, as he starts laughing evilly. She slaps him out of it, shouting, Stop it! He recovers. Why did you hit me? he asks in confusion. Did I say something? Tell me! Quentin, if you don’t remember, neither do I, Kitty replies graciously, and goes upstairs.

Before Petofi and Aristede cover up Quentin’s portrait again, we get a good look at it. Now the painted face looks haggard, with deep creases on the cheeks and circles under the eyes as well as the scar. Petofi announces, The most important moment--the most crucial part of the plan--has arrived. I don’t know what the plan is, Beth protests. You won’t, Petofi tells her. There’s no time to explain now, but you will obey me if you understand. Yes, she replies. Soon I will go back into the inner room, Petofi says. The door will be closed. Neither of you must enter--that is an order. What I must do there, I must do alone. You won’t be disturbed, Aristede assures him. Neither of you will sleep this night, Petofi orders. If anyone comes to see me, including Quentin himself, I must not be disturbed. We understand, Aristede and Beth tell him. Petofi tells them, When we meet again, everything will be different--very different! The count goes into the inner room and closes the door. Beth turns to look at Aristede. He is smiling triumphantly. I’ll be upstairs at the door, he says. You can bring me some coffee.

In the inner room, Petofi sits in the chair in front of the little table. To the accompaniment of the “male enchanter” music (featuring a muted solo trumpet and swooping strings and formerly associated with Nicholas Blair), Petofi begins an incantation: Quentin Collins! Your will must bend to mine. There shall be no resistance, because I am the fire and the air, the water and the earth. I am the powers of all of the stars. You will hear the rustling of leaves in a thousand trees telling you that the wind of change is upon you. So it is! So it shall be--forevermore!...

Here is a biography of John Donne, 1572–1631. His love poetry is highly passionate and sometimes very explicit. I imagine Edward mentioned him just to impress Kitty with how much of an arty snob he was. 

You can find all of Donne's poems here--this page has his most famous one, "Death, Be Not Proud."

This episode marks the beginning of what, to me, is one of the most disturbing story lines in the series. It is the epitome of cruelty, horror and depravity and marks yet another milestone on Quentin's road to redemption.

Welcome, blue vis-à-vis (a kind of sofa consisting of two facing seats joined together with space for a little table between). It has replaced the three-way seat. I wish I could remember where I got these fun furniture facts from, but I just can't.

Even Quentin's music can't cheer him up. Kitty comes in and asks him about Angelique. Then Angelique arrives and Kitty says she feels sure they've met before.  I feel sure we have met before. Kitty hesitates a moment, then asks, Were you ever a servant or personal maid? Angelique is affronted but replies, I would have been a poor one, since servitude requires a temperament I don’t possess. [Surely she’s remembering Joshua’s disapproval of her marriage to Barnabas.] What I do have, at least nominally, is a fiancé, she adds, possessively touching Quentin’s hair. Kitty asks the servant question again. In subzero tones, she more or less orders Quentin, Please assure Lady Hampshire you aren’t marrying below your station. Lady Hampshire knows that, Quentin says, moving away from Angelique. I’m sorry, Kitty says, annoyed. Any insult was unintended. She leaves. You could have been a little kinder to her, Quentin observes. She reminds me of someone I loathed, Angelique replies, hatred in her voice. She tells him she's going to the village but won't say where. He watches her go, his eyes full of hate.

Upstairs in her boudoir, Kitty and Edward speculate that maybe Jamison left the flowers. He’s hardly paid any attention to me, she point out. That’s how boys his age are, Edward says. They develop the most astonishing crushes. I know if you had come into my life when I was Jamison’s age, I would have thought the flower bouquet huge. And as for the book, it wouldn’t have been Burns--Donne, more likely. Strange, he comments, I didn’t know we had a copy of Burns in this house. He opens the book to the flyleaf and says. No, the Old House. It must have come from the library there. Who lives in the Old House? Kitty asks. No one, Edward replies coldly. You mean since Barnabas Collins, Kitty says. Jamison often plays there, Edward tells her. I’m sure that’s the explanation. I’ll talk to him now, before the boy goes to sleep, and see that he doesn’t trouble you anymore. You’ll be all right, he assures her. After he leaves, Kitty picks up the book and presses her lips to it as we hear Josette’s theme start up. Barnabas, she calls as she goes into Josette mode. Barnabas....

The drawing room and the Victrola have both vanished from the drawing room, but Quentin is feeling too sorry for himself to notice. He starts to pour himself yet another brandy when he hears someone in the foyer. He steps out to see Kitty staring up at the portrait of Barnabas. [Who put it back? Kitty is the only one who would want to see it, and she is certainly surprised.] His eyes want to see again, she murmurs. Edward joins Quentin as Kitty murmurs, He wants to come home.... The portrait, Quentin exclaims quietly. Where did she get it? Edward asks. In a complete trance, Kitty cries out, I won’t let you harm him! Edward wraps his arms around her and urges her, You must come to your senses! She struggles wildly and shouts, Don’t touch me! Barnabas, she pleads, tell me what to do! Let this go! Edward tells her. She turns to him and says, Joshua! Joshua Collins! She runs from the house, with Edward right behind her.

Kitty has made a beeline for Jeremiah's grave, with its tombstone still spelling his name as "Jerimiah." In Josette mode, she has a flashback about how Angelique used her black arts to make her and Jeremiah marry and blames herself. Edward tries to shake her out of it, but she runs off, with him once more in pursuit.

Angelique has really and truly gone to the village, in fact to the old rectory. She hands Julia a small cloth packet, which Julia accepts. Thank you very much, Julia says as she tucks it into her medical bag. Is everything all right? Angelique asks. When will you need more? Tomorrow, Julia says. Could you possibly bring it earlier? All right, Angelique replies. With a smile, Julia muses, It’s curious, meeting you--even liking you. After all you have heard, Angelique agrees. All of it true, I am sure, Julia answers with her usual directness, but instantly apologizes, Oh, that wasn't very tactful, was it? Unoffended, Angelique answers, No, no, I'm sure that everything Barnabas told you was the truth. The two women sit together, quite companionably, on a small sofa as Angelique continues, But there was one truth that he was never able to accept--that I sincerely, honestly loved him. As you love Quentin now? Julia asks (no doubt hoping it’s true). As I will love Quentin when he lets me, Angelique answers. Suddenly urgent, Julia says, Angelique! Angelique, you must both be very careful. Petofi is planning something. Something--and it involves Quentin, I am sure of that. We have got to watch him, and you must do everything you can to protect him. I’ll try, Angelique promises, but adds, But that Hand--that Hand frightens even me! I have never admitted that before, even to myself. I will deny it again tomorrow. But it does, Julia--it does! Julia nods sympathetically. I must return to Collinwood, Angelique finally says--staying away too long would arouse suspicion. She leaves Julia looking thoughtful.

Kitty is wandering in the woods as we hear the spooky vibraphone version of Josette’s theme to indicate hallucination or possession. She hears someone coming. Thinking it’s Barnabas, she calls out, Is that you, Barnabas? But Quentin comes upon her, takes her arm, and tries to get her to come back to the house. Kitty breaks away, exclaiming, No, I must go to Barnabas! He is in danger! Quentin follows her.

Angelique returns to the house just as Count Petofi descends the stairs. Ah, the most charming woman in Collinwood! he greets her (also at the moment the only woman!). What do you want here? she asks bluntly. I want to see your fiancé. I’ve already been told he isn’t in, but I want to wait. What do you want him for? Angelique asks. You are incredibly direct, Petofi observes. For a moment I thought I was talking to Julia Hoffman. Angelique is far too experienced even to blink as she replies, Well, you are not. You are talking to the woman who is going to marry Quentin Collins. Are you asking me for my blessing? Petofi wonders. No, there is no need for that, Angelique replies, since you have the Hand. Petofi agrees as he steps up behind her, holding out the Hand. Angelique turns to face him and says, I also have a gift of my own. I can summon up strange and horrifying spirits. How would you like to be walking through the woods one night and hear a noise? Suddenly, in your path there is a bolt of lightning, and there stands King Johnny Romano! His sword is held high! Enjoying her effect on Petofi, she finishes, You wouldn't risk that meeting, would you? She walks right past him and goes upstairs, leaving Petofi stunned and speechless--and for once not smiling. He looks after her, then at the Hand as if protecting it.

Kitty bursts into the old rectory with Quentin right at her heels and Josette’s theme in our ears. Barnabas! she calls out. You are here--I feel your presence, she calls. But where are you, my darling, where? Yes, my darling, I am coming, I am coming! She almost floats across the room, smiling with joy as she makes for the door at the opposite side. No doubt wondering what’s happening, Quentin watches silently as she reaches the door. You are coming to me, she says as she puts her hand on the doorknob--just as Julia opens it and comes into the room. They both jump and gasp, but Julia quickly slams the door behind her. What are you doing here? she asks Kitty. What are you doing to Barnabas? Kitty asks accusingly. Let me see him! she cries as she struggles with Julia. Quentin watches and listens intently as Julia insists, Barnabas is dead! No, Kitty insists as she backs away. He isn’t dead! You won’t let me see him. Julia finally notices Quentin and appeals to him for help. On hearing Quentin’s name, Kitty snaps out of it. Quentin? she asks. He comes over to her and takes her gently by the arms. Let me go! she cries as she breaks away from Quentin and runs out.

Julia tells Quentin, Go after her--you must! But Quentin looks her in the eye [as the persistent fly returns to see if either one of them will be more hospitable than Kitty] and says, No--Julia, I know why you have stayed in our time. I just found out. Barnabas isn't dead, is he? You know that he is, Julia answers firmly. I don’t know it, Quentin replies. I believed Kitty. I don’t know why, but I did. Because you want to, that’s why, Julia says. You saw Barnabas in his coffin. Everyone (i.e., Edward and Tim) told you they saw the stake in his heart. Why don’t you go back to the cave and see for yourself. Quentin tells her, Edward had the cave sealed. Julia answers, And Barnabas's body is there. Barnabas is dead, Quentin. Oh, Quentin! she wails. I don't want to believe it either, but I must. Quentin’s eyes widen as she adds with fierce intensity, And so must you.

Once again Kitty and Edward meet in her boudoir. Whatever is happening to me, it must stop, Kitty says as she steps a little closer to him. It will, Edward promises, with rest--and love, he adds as he steps closer to her. As she meets his eyes, Kitty wonders, Can love cure me? I am sure it will, Edward replies. I am sure couldn’t live through this without you, she declares. She puts her hands behind his head, then remembers something and slowly lowers them. Have you talked to Jamison about the nosegay? she asks. Obviously lying, Edward says he did. I know you didn’t, Kitty says gently, but thank you for the kind lie. We will find out who left it--I know it, Edward promises.

Downstairs in the drawing room, Petofi is staring hard at the ruby ring on his deformed Hand, then hides when he hears someone coming. He steps out when Quentin starts to pour himself a brandy. Are there no other forms of relaxation available? Petofi asks. Not for me, Quentin replies. I’ll teach you some, Petofi suggests. I’m too tired and confused, Quentin says crossly--please leave me alone. You are becoming as inhospitable as Charles Tate, Petofi says as he turns on a lamp. I don’t want to hear his name, Quentin says. Love has made you bitter, Petofi observes. Leave me alone, Quentin says again. I’ll do better, Petofi replies, I’ll calm you. Don’t count on it, Quentin answers as he settles into an armchair. Petofi holds out the Hand as he comes over and says, Years ago, I learned a fascinating trick in the Middle East that will take your cares away completely. Not really interested, Quentin says grudgingly, You can show me if you leave afterward. Happily, Petofi replies as he holds out the Hand. This is an amazing Hand, he says, There’s no knowing what it can accomplish. You’ve seen my ring before? Already partly mesmerized, Quentin replies, I never noticed it before. The ring also comes from the Middle East, Petofi says. There is a legend connected with it. When you wear it, according to the legend, you make yourself available to begin a new life. Such a charming fantasy, isn't it? Fantasy perhaps, but, such agreeable fantasy.

Now getting down to business, the count places his hands on either side of Quentin’s head and asks, Would you like a new life? Quentin is very sleepy as he answers yes. Yes, who wouldn't? Petofi agrees pleasantly as he rubs Quentin’s temples. Even I... even I... Would you like to be as you are now in your new life? Quentin is nearly asleep as he murmurs, Never... never. As he continues to rub Quentin’s temples, Petofi tells him, Sleep... sleep. He lets go of Quentin’s head, which instantly drops to his chest. He is deep in slumber. Petofi leans over and seems to whisper into Quentin’s ear, then smiles. As Petofi steps out from behind the couch to face Quentin, we can see that the ring is gone from his Hand. Still asleep, Quentin raises his head as he murmurs, A new life. His work done, Petofi turns to leave. You may awake anytime, he tells Quentin. After Petofi leaves the house, Quentin wakes up. Petofi? he calls, then notices the count is gone. He brings his hand to his forehead--and notices the ruby ring. He stares at it in agitation as he remembers Petofi’s words: When you wear it, you make yourself available to begin a new life. To begin a new life. Would you like a new life, Quentin? Not with you! Not with you! Quentin replies. He tries to remove the ring, but it won’t come off. He wrestles with it for a moment, then stands and gives it several hard tugs. But it is all too evident that nothing short of amputation will get this ring off Quentin’s hand....

Gerard, thank you so much for sharing the details of your story. It's just lovely, besides fitting all the facts. I can see it all happening in my mind's eye. Jamison is a cad, but I guess with Quentin as a role model.....

Just on a personal note, my mother was a WAC also during WWII--but not in NYC.

Thanks, MT. Actually, Quentin's answer would have convinced me. He made good use of the time.