Actually, this episode gives us our last look at the train station. Farewell.

Defeated, Quentin follows Angelique back to Collinwood. You would think that she would have learned by now that forcing someone to marry you isn't a good idea.

Kitty is wearing a knockout mauve gown with bejeweled double spaghetti straps with a net blouse over, and a lacy black shawl. She wanders around the woods but runs back to the house when she thinks someone is following her.

Edward calls the sanitarium to see how Judith--remember Judith?--is doing. He speaks to Dr. Seward, who preserves his life by wisely remaining off camera and not even having a speaking part.

Kitty hurls herself into Edward's arms a moment before Angelique leads Quentin back into the house. Edward introduces her as Quentin's fiancée. We get our first hint (I think) of the Kitty-Josette possession when Kitty shouts, You! You were in the woods watching me! You have always watched me! Always spied on me! Well, you won't spy on me anymore! So saying, Kitty grabs Angelique and starts to strangle her. Edward gets her aay from Angelique, and she promptly faints. When she revives, she remembers nothing and has to be told what she just did. Completely mortified, she allows Edward to take her to her room.

Left alone with her reluctant fiancé, Angelique wants to set a date. But Quentin is far more interested in his hypothesis that his hatred for Angelique somehow telegraphed itself into Kitty's mind. That’s an interesting theory, Angelique says, but you’ll come to know sooner or later that the reason that woman attacked me has nothing to do with either of us. [Seriously, Angelique! Surely you’re having a flashback!] Let’s go into the drawing room, she suggests again. May I have a brandy? Quentin puts his hands in his pockets by way of reply. Please, Angelique says. After all I’m still a little shaken after my close encounter with death. I’m sorry she failed, Quentin comments as he pours the brandy. I would be free now. Well, she didn’t, Angelique retorts. You might as well face the fact that you will never be free--so learn to love your jailer. He hands her the drink. Just one more thing, she adds. The wedding--anytime this week will be fine. A week from tonight then, Quentin shoots back: That will put it off as long as possible. She merely smiles at him over her drink.

Up in her room, Kitty has taken off her black sequined top and we can see the straps of her gown and KLS's lovely neck and shoulders too. She is so shaken by recent events that she wants to leave, but Edward insists that she must stay. He says, I would so very much like to look after you. Please don’t talk of going away! I may need a great deal of looking after, she warns with a simpering smile. I will provide it, he replies with manly resolve. She says, I have the feeling that what happened today is only the beginning of something. I’m terribly frightened--something I hadn’t even admitted to myself, and now I’m admitting it to you. And now I’m crying! she sobs as she turns on the waterworks. Taking her in his arms, Edward urges her, Go ahead, it’s good for you--it can be a relief from fear. Then you’ll always protect me when I’m frightened and have patience with my tears? she asks in her best helpless-female manner. I will, he promises, falling for it. I’ll be safe no matter what happens, she says. She touches her fingers to her lips, then to Edward’s; this time, he doesn’t pull away. Good night, Edward, she says. Good night--my dear, dear friend. Good night, he replies and leaves. But once she’s alone, the little schemer gives us a too-satisfied smile.

Angelique is planning a simple wedding, no doubt remembering her first one. Edward returns, and Quentin pointedly moves away from her as she tells Edward that she and Quentin will be married in a week. Edward congratulates them, and Angelique leaves, possibly to sew another wedding dress, and Edward castigates Quentin. I don’t like the way you treat your fiancée, he rails, or your attitude about your marriage. My attitude is my concern, not yours! Quentin snaps. That girl has suffered enough because of this family, Edward fumes. I don’t want her to suffer more--she was victimized by Barnabas Collins! So she was, Quentin agrees, but I will treat my bride-to-be in any way I damned well please. And I assure you, Edward, she understands. He is about to leave when Edward has a question for him: I want to talk to you about another matter--a little less personal, but it concerns us both. I’ve been meaning to talk to you about it ever since Barnabas was killed. You found Barnabas Collins in his coffin. Yet, despite knowing that he was a vampire, that your brother Carl was killed because of him, despite all of that, you walked away and let him live! Why, Quentin? Why?

Quentin has a commercial break in which to think up an answer, and he comes up with one that’s plausible because it’s truthful. Looking hard at Edward, he admits, I didn’t kill him. Why, knowing what he was? Edward exclaims. It was Charity Trask who killed him, not you--why? Maybe, in the end, I was as human as my brother, Quentin replies. He sips his drink, then continues, Remember, Edward, you had Barnabas locked up in the cellar of the Old House and could have destroyed him. You had the gun and the silver bullets and could have ended it all right there! So why did you wait for the dawn to do your work for you and give him a chance to escape? We have both faltered, he decides. It’s enough that a “mad child” (as he terms Charity/Pansy with gentle charity) has done our work for us, so we should drop it. You certainly can be convincing, Edward comments. I remember your glib tongue even as a boy, but I pride myself on being a good judge of character, and no matter what you say, I doubt I’ll ever trust you completely. Quentin laughs heartily, then remarks, I didn’t think I would ever laugh again, and you caused me to do it, so I’m grateful to you (to Edward, of all people!). I don’t know what I said that was humorous, Edward huffs pompously. Enlighten me, Quentin. You just said that you are a good judge of character, Quentin replies. Well, if that lady upstairs is any indication of your approval of people, we are all in a great deal of trouble. What do you hold against Lady Kitty? Edward asks indignantly, referring to her incorrectly. [She be Lady Kitty only if she were the daughter of an earl or higher-ranking peer.] I wouldn’t dream of telling you, Quentin replies cheekily. That would be interfering in your personal affairs. No--I’ll let you find out all by yourself. He sips his drink again.

At 10:30 p.m., Kitty Soames, Lady Hampshire is already tucked in bed and fast asleep. But her sleep is unquiet--she tosses and moans. She hears Angelique’s voice calling, Mademoiselle! Then Angelique appears, laughing, in her 1795 maid’s plain gown and a doily atop her head. She tells Josette/Kitty, I have come from Mademoiselle’s bridegroom. I told him that in our country, it’s flirting with misfortune to ever let the bridegroom see the bride before the ceremony! What did he say to that, Angelique? K/J asks. Angelique replies, He assured me that he would never want to cause you misfortune--oh, no, not for the world! But he begged me to give you some tokens so you would not forget him. Angelique laughs her trademark laugh as K/J protests, I would never forget him! I told him that, Angelique assures her. Let me see the tokens, K/J orders. Here is something for the nose and for the eyes, Angelique says as she holds out a bouquet of red and white roses. And something for the mind and heart, she adds as she holds out a book. “The Poems and Songs of Robert Burns,” K/J reads. How did he know that was my favorite? She opens the book and reads what what was also poor, mad Jenny’s song: "My love is like the red, red rose that's newly sprung in June, my love is like the melody that's sweetly played in tune.... And I will come again, my love, though it were five thousand mile!“ It is beautiful! she exclaims. Yes, yes, beautiful, Angelique agrees, her smile now acrid and her tone sarcastic. Everything is always so beautiful for the little mademoiselle. But be careful. Too much good fortune can make the gods jealous of you.

Jealous of you. Jealous of you. Jealous of you.... Kitty hears these words over and over as she finally wakes up with a fly buzzing around her face. Who was I? she wonders. Where was I? What was happening to me? Why was Angelique my servant? I don’t understand--but I don’t really need to, she assures herself quickly. Edward said it was all in my mind. She sighs with relief, then looks at her nightstand--and sees a bouquet of red and white roses, identical to the one in her dream, with the identical book of Burns poems underneath. As she reaches for the book, the persistent fly alights on her hand, then tries to land on her face and she has to brush it off, so it lands on the book. [It reappears in the next episode.] Nonetheless she exclaims fearfully, It is not in my mind! It's not! It is happening! Something is really happening!....

Somewhere on YouTube is a barely 60-second clip of an interview with Joan Bennett. The interviewer asks her if Vicki was Elizabeth's daughter. Her answer is a resounding YES!

I think the first Big Finish audio play also makes this clear.

But I don't know if the OS writers ever planned on dealing with this topic.

Thank you again for all the wonderful pics of Alec Newman. I start every day with a swoon! 

We first saw the station in Episode 1, with the arrival of Victoria Winters. We see the exterior of the station.

Next time was in Episode 705, with the arrival from Boston of Rachel Drummond with Edward. We see the platform for the first time. This is the same view as in Episode 850, except that this time we see the New York–bound platform, which looks identical.

If I remember, we will see the same platform for the final time in Episode 851.

1840 is WAY too confusing for me to think about, but welcome to you, Claude North! 

According to DS Wiki, Lela Swift directed this episode.

I'm not sure that Petofi had Charles paint Quentin's portrait because he wanted to go to the future. I don't think Petofi realized yet that it was theoretically possible. He certainly did want Quentin to owe him big time, because that's how Petofi operates.

BUT I'm not sure exactly when Petofi started thinking that fleeing to the future would solve his problem with the gypsies. Where are they all this time, anyway? I miss Magda's rolling gait and her kibitzing.

Kitty beards the lion--Petofi--in his den, accusing him of sending Pansity to torment her with the music box. Petofi is amused but denies having anything to do with it--in fact, he tells Kitty that he hopes she gets all the money she wants. Kitty has to admit that she's mystified by her reaction to the music box, so different from the "death and destruction" that Pansity warned her about.

Quentin has dropped Amanda off at the old mill and is chatting with Julia. She tells him that she and Petofi have established a kind of truce. Quentin warns her it won't last. Julia says it has a better chance of lasting if he'll just take Amanda and leave Collinsport. She suggests, If you let me know where you are, I will promise to let you know when everything is settled here. Once more he asks, Can’t you tell me what’s really happening here? No, not now, Quentin, she says. Petofi will not always be the threat that he is now. Perhaps he will simply disappear as Aristede has. I am not giving up, Quentin! I promise you that.

Beth is surprised to find that Aristede has returned to the old mill--to stay, he says.

Petofi has walked Kitty back to Collinwood, LOL. He wants to keep up the "delightful fiction" that they don't actually know each other. He wishes her luck in finding out who sent her the music box and suggests she ask Quentin: "He always has time to spend on a beautiful woman." Kitty walks into the house and finds Quentin (pouring himself a brandy, naturally) in the drawing room. Holding up the music box, she asks him, Do I owe you thanks for this? Shocked to see it, he asks, Where did you get it? I hoped you could tell me, she replies. I don’t know, Quentin tells her. You’ve seen it before, she says--where? I must be wrong, he says in confusion--it can’t be the same one. Who did it belong to? Kitty asks. Why? Quentin asks back. It matters to me, a great deal, she replies. Reluctantly he tells her, It belonged to a relative who once lived at the Old House. Barnabas Collins? Kitty guesses. How did you know that name? Quentin asks. She replies with a knowing smile, I collect information, Mr. Collins. I remember what I hear. You wouldn't expect me to forget a vampire, would you? Quentin turns away from her, and she continues, I listen when people speak. Now, is there any reason why I shouldn't have known this? No--not now, Quentin says wearily--Barnabas is dead. By now Kitty has worked it out: I think I saw him the first night I was here, she tells Quentin--I cannot believe he was a vampire. She opens the music box and the tune plays. But if the music box was his, she asks, why was it given to me? I don’t know, Quentin says, but she looks haughty and skeptical as she closes the box just before the last chord of the tune.

When Petofi returns to the old mill, he isn't best pleased to see Aristede. It turns out that Aristede went clothes-shopping in Boston and shows off his new cravat for Petofi--who, the next moment, slaps him hard across the face with the Hand. Aristede pleads that he ran off only because Barnabas threatened to kill him. Now that Barn is dead, he's come back. Petofi argues that he failed in his final assignment. Aristede insists that Julia must be dead, even though he didn't see her die. He shows Petofi the infamous chair, with its back shattered. Petofi takes a closer look at it, then leaves. But Aristede is sure he's been welcomed back.

Julia barely has time to hide another prepared syringe when Petofi arrives--of course he's made a beeline to the old rectory. Frostily Julia points out the brandy across the room, saying, There’s some brandy. Your manner almost makes me want to decline, he remarks. But I won’t--the night air has brought on a chill. I don’t drink with enemies, Julia says coldly. I come as a friend, the count replies. He pours her some brandy too; since his back is turned to her, he has no trouble putting some powder from a small vial into her glass. What do you want? Julia asks again. We will discuss that when we’ve had our drinks, the count says. I can’t believe you’re here out of any friendly feelings, Julia says. We might as well start the meeting honestly. Pleased, the count replies, I’ve read that some of the virtues of “our” time have survived to your age. He hands her a drink, which she accepts, then he toasts: To your enjoyment of 1897. He watches carefully and smiles as she takes several sips of the brandy. Now tell me, she says, why did you come here? He replies, I came to watch you die, Dr. Hoffman. There was cyanide in that brandy--enough cyanide to kill ten women. Will it kill you, Dr. Hoffman? That is what I came to see!

Petofi and Julia wait for the poison to start its work. Do you feel any pain? he asks hopefully. Julia suddenly reaches out her hand, clutches her throat and rises quickly from the chair. Petofi holds the Hand toward her and says, No! No remedies. Is your throat burning? he asks. Have the unbearable pains started? They should have. I went to town to purchase that exact drug because it acted instantly. Julia has reached the table but is calmer now as she tells him, I would like to act it out for you, Count Petofi. Yes, I believe I would. I would like to make you think that I feel every pain the poison can cause. But I know you. I know that you would wait for the very end. You cannot die? Why? Petofi asks. I won’t tell you, she says. He holds the Hand in front of her face as he asks, Shall I force you to tell me? Forced to explain, Julia replies, My physical body still exists in 1969, sitting in a trance in a room. Your astral self-- Petofi starts, seemingly well acquainted with the concept. Is here, Julia finishes. And your astral self cannot be killed, Petofi realizes. I don’t understand, Julia murmurs. It is not necessary to understand, Petofi declares. It is enough to know it! He leaves quickly. Trembling with reaction, Julia picks up the brandy glass and gazes at it.

Aristede has ordered Beth to cook him a meal, but she says she hasn't come to the old mill to cook. I didn’t come here to cook, she says bluntly. Why did you? he asks. I came because I want more than I’ve had. Petofi arrives and shouts, Out, Aristede! As Aristede helps Petofi out of his coat, he asks, Did you find Julia alive? In a manner of speaking, the count answers. Now get out. But you are planning something, Aristede protests. You can guess what it is as you walk through the woods! Good night! the count answers, waving the Hand menacingly. Aristede runs out.

Now that he has his desired audience, the count tells Beth about his shiny new theory of the astral self. He says, If you had gone to the future the other night when you tried to go [that is, via the I Ching], only your essence would have gone--your astral self. Your body would have remained here in a trance, unable to defend itself--vulnerable if a gypsy with a knife were to get into the room. But your astral self, in the future--no one could kill that. But Charity killed Barnabas, Beth points out. Precisely, the count answers, pleased. You are more intelligent than I thought. Because the Barnabas Collins who existed in 1969 was born in the eighteenth century, in this year, 1897, his body was in the mausoleum. But Barnabas’s astral self had a body to occupy--as I myself must have in the year 1969. You’re mad! Beth exclaims. Perhaps, he concedes. If I am, I am very foresighted. What I intended to accomplish with Quentin’s portrait has happened. Opening the magic TV cabinet, he orders her, Look--concentrate on the future and tell me what you see.

As the magic TV warms up, Beth obediently looks and describes aloud for the count what we can see with her: I see Collinwood, only it is different--so different. There are strange lights, not at all like the lamps I’m used to. With surprise, she adds, Quentin is in the drawing room, standing in front of the window. He’s dressed oddly. The count pounces on this detail and demands to know what Quentin is doing. Quentin seems quite agitated, Beth says. We can see that he is wearing a mustard-colored 1969-style jacket, a bright yellow shirt, and a six-lane-wide diagonally striped tie--only the first of many examples of his execrable taste in twentieth-century neckwear. He has a gun in his hand, Beth says--different from ours. I’m sure he is going to kill someone! She is very upset as she walks away from the cabinet to sit on the sofa. It can't be! she exclaims. Quentin is not in another time. He is here--but he looks the same. He is no older. Petofi steps behind her and holds the Hand over her head. You will remember nothing, he tells her. You will not even remember my coming into the room. When he passes the Hand before her eyes, she shuts them. A moment later, she comes back to herself. When did you come into the room? she asks, turning to face him. A few moments ago, my dear, he replies. And I have wonderful news! I know now how I shall go to the future!...

I was thinking about Tim's vest with lapels. I'm sure that when he got his riches, he got some made-to-order suits. Maybe having a vest with lapels is a sign that he can afford a little more extravagant tailoring--?