For purely selfish reasons, Tim shouts, No, you can't kill her! Then he rushes off to Collinwood. But does he offer Amanda a crumb of comfort? No. She already knows he just wants someone he can use. He brutally reminds her about the created man's fate, then tells her that she has no right to live any kind of life than the life she is living now. Quentin hears Tim trying to drag her away and intervenes. No sooner has he gotten her settled with a brandy (of course) than Charles comes charging in and breaks the news to Quentin that he created Amanda. Quentin is skeptical, even when Charles tells him that his (Q.'s) curse has been transferred to his portrait. If anything happens to the portrait, he warns, you will revert to what you were at the next full moon! This gives Quentin pause, then concedes, All right--it may be true about my portrait, but Petofi was responsible for that, not you. I painted, Charles reminds him. I did what Petofi wanted me to do, but my ability is right here in my hands. Does it seem a bit more credible now? No, Quentin replies. It’s not the same thing at all. It’s one thing to apply black magic to someone’s portrait. It’s quite another to paint someone and have them come to life! But I’ve done it, Charles insists. Have you told Amanda any of this? Quentin asks. I’ve told her everything! Charles shouts. Stepping close to Charles, Quentin says sternly, I am warning you, Tate, now, if you come back here and bother her again, I will have you certified a lunatic! He stomps out, leaving Charles alone in the drawing room.

But Charles goes straight upstairs to Amanda's room--how does he know where it is? He warns her that Quentin will leave her as soon as he realizes that what Charles told him is true.

After Charles leaves, Amanda starts crying again as she reaches under the bed for her suitcase and starts packing her belongings. Quentin finds her in this state. Was that Tate I just saw? he asks. Yes, it was, she replies. What are you doing? he asks. I am leaving Collinwood--alone, she replies. I know why, Quentin says. Tate told me everything. I didn’t believe a word, and I hope you don’t, either. I don’t know, Amanda says unhappily. Setting his hands on her shoulders, Quentin tells her, Listen to me! Even if it were true, it wouldn’t change my feelings for you! But what if it were true? Amanda asks miserably. But it’s not true, Quentin insists. We’d always have doubts, Amanda says. I wouldn’t, he assures her. Oh, but if you ever did.… she says. I never will, he promises her. Will you go away with me now? They hold each other close as she replies, Whatever you say. They kiss passionately, then smile at one another. Quentin says, In the meantime, you’d better finish packing. There’s a train leaving for New York at six p.m. tomorrow evening, and we will be on it. I’ll take care of the arrangements. I think I should leave Collinwood first, Amanda says. I have Trask to worry about, and you have Angelique. We’d better not see each other for the next twenty-four hours, Quentin says, until everything is ready. I’ll go back to the inn, Amanda says. No, Quentin replies, I have a better place in mind--the old rectory. The woman staying there will be happy to put you up until you’re ready to leave. I’ll meet you at the station tomorrow at a quarter to six. I’m very happy now, Amanda says at last, and they kiss.

Meanwhile, Charles has found Quentin’s rooms. He slips in quietly, closing the door behind him. He spots the portrait in its cloth wrapping. (On the frame is the plaque that formerly appeared only on the werewolf version.) As he uncovers the portrait and gazes at it, he thinks to himself, Amanda Harris is mine, Quentin. You can try to take her from me, but you will not succeed--not without this portrait. If the portrait should be destroyed, you will be cursed again, Quentin! And if it becomes necessary, I _will_ destroy it! He removes the painting from its frame and exits with his prize....

True enough, MT. Barn is never at his best when he's thinking with his, um, fangs. And strangely enough, I think (although I'm not 100% sure) that he gets obsessed with Josette only when he's in his vampire state.

Still seeking--something, financial reward, maybe?--Tim hopes to surprise Petofi with his big scoop about Barnabas. But he's in for a disappointment. Tim wonders if Beth is sorry about the news, but stiffly she tells him to be a good boy and maybe Petofi will reward his all-too-apparent greed.

Petofi takes the news to the old rectory, where Julia is preparing a rather large and wicked-looking syringe, which she quickly hides. She can barely speak for crying. Petofi doesn't improve her day when he tells her, You are alone now, friendless and unprotected in an alien world. You cannot stay here long. Soon you must return to the future. When you do, I shall be by your side. You will be under surveillance morning, noon and night. Good day to you, Doctor. He leaves Julia looking utterly lost.

The conscience-stricken Quentin is in the drawing room alone with his music when Amanda arrives. Naturally they declare their love (poor, faithful Beth!) and kiss passionately--just when Petofi walks in on them. Quentin is actually stunned to hear the news and rebels when Petofi tells him that his next assignment is Julia. But as before, he can't get out of it.

Quentin tries to get Amanda to leave Collinsport with him, but she pleads that she can't because she doesn't deserve to be loved. She wants to explain but can't, so she runs off.

Tim is Petofi's next recruit for trying the I Ching. What does it involve? Tim asks. Is there great danger? There is no adventure without its danger, the count replies. Does that frighten you? What do I get out of it? Tim asks. If you find what I am seeking, the count replies, you can name your own reward. Intrigued, Tim asks, Just what is it that I’m looking for? I will explain after I tell you how the I Ching works, Petofi replies. He leaves the room, and Tim gets up, taking a few steps around the room.

Once again, Julia risks everything by visiting Quentin at Collinwood. Once again she is wearing her red shawl--maybe it's really a Cloak of Invisibility. She says that Barnabas told her--before he was killed, that is, she corrects herself--to tell Quentin to get out of Collinsport pronto because Petofi is after him.  I’ve realized that myself, Quentin tells her. I’d advise you to either leave Collinsport or return to your own time. I can’t leave now, Julia says. There’s nothing to keep you here now, Quentin insists. I have to stay and complete Barnabas’s mission, Julia insists. If you stay another minute, you’re crazy! Quentin insists--I know what I’m talking about. Julia replies, Petofi is convinced that I will eventually show him the way to the future. He can't kill me. Quentin, _you_ are the target. You have got to get out before he traps you here forever!

Tim is sitting at the little table at the old mill. Following Petofi’s instructions, he has cast the wands. Petofi has arranged them in the following unexplained hexagram: blank, blank, bar, blank, blank, blank. Why didn't they explain the hexagram? Maybe because no hexagram on earth would give rise to the following vision. (What is it with people seeing Quentin doing this particular thing???)

Concentrate on the door, Petofi orders Tim, then pass beyond it. Remember everything you see beyond the door--that’s vitally important. As Tim begins to concentrate, the pattern begins to whirl. The door appears, and he passes through it. He sees a vision of Collinwood. Amanda is in the drawing room, confronted by a cloaked and hooded figure. She seems unable to escape, and the figure quickly begins to choke her. As they struggle, she pulls down her attacker’s hood to reveal a hideous red demon mask with bulging yellow eyes and protruding fangs. At that point the figure stops trying to strangle her, and they look at each other for a moment before Amanda tries to run out of the room. The man blocks her path, and she backs up toward the windows. The masked stranger draws nearer--and nearer--until she can’t back up any more. The stranger stands in front of her, and she pulls off the mask. The face underneath belongs to Quentin Collins. She screams, but he starts to strangle her again, laughing maniacally all the while.... 
 

As always, MT, your observations and insights are absolutely on target--especially about the problems with time travel and changing story lines. Thanks!

Poor Barnabas. Imagine what it would be like to know that everyone you care for will be destroyed, and the more you try to protect them, the worse it gets. No TV show, book, movie, etc. has ever achieved the standard set by DS. I do still like Barnabas but the writers are making it very hard with this story line.

If Tim didn't know about the vampire before Pansity blurts out what she's done for her Carl, he certainly does now. He quickly appoints himself her handler and tells her that Edward will be very grateful--and no doubt Tim expects to get a cut of Edward's gratitude.

KLS (STILL billed as Kathryn LEE Scott) looks absolutely gorgeous as the pearl-bedecked Kitty, even prettier than when she was Josette, because now we can see the scheming intelligence behind those big brown eyes. (Sorry, but Josette really was a bit dim.) So why does Edward invite Kitty to live at Collinwood, despite the various supernatural dangers? My guesses: (1) He probably thinks she is now an extremely wealthy widow; and (2) he probably thinks he will get extra manliness points with her for protecting her from said supernatural dangers.

Pansity is quite properly affronted--as who would not be?--when Edward doesn't believe that she staked the vampire. Go see for yourself, she dares him. Edward wants to go alone, but Tim invites himself along.

Although Kitty treats Pansity with haughty condescension, Pansity does her mentalist act. Lo and behold, no sooner does her second sight kick in than she hears--surprise!--the music box theme (and so do we)! Pansity warns the irritated Kitty that the music box will cause her death.

Meanwhile, Edward and Tim are in the cave with Barnabas’s coffin. To think that his life would end here, in a dismal cave, Edward murmurs. Although he regarded Barnabas as a monster, to Edward he was a Collins nonetheless. Edward opens the coffin, grimaces at what he sees (which remains hidden from us), and closes the lid. Barnabas Collins is dead, he says. May he rest in peace. The coffin must be chained. The cave must be sealed. He must remain here forever. And with this, he and Tim depart.

Edward returns, relieved that Barnabas has been disposed of. In fact, he's so relieved that he invites Kitty to a special dinner, just for the two of them. Kitty smiles to herself at how well her plans are going.

Pansity gloats to Edward that he won't be calling her a liar anytime soon. Edward assumes she wants a reward. Sure, she does, Tim interjects, but Pansity tells him to keep out of it. I’d like you to answer one or two questions that might seem strange, Edward says. About Quentin--you followed him to the cave? He knew where the vampire was, C/P replies to Edward’s astonishment. I got that feeling, talking to him--that’s why I followed him. Edward wonders, If he knew, why didn’t he come to me instead of telling you just enough to make you follow him? He could have kept it in the family. in the family, Edward says--his real point. You can count on _us_ to keep it very quiet, Tim promises. Can I indeed? Edward asks. She’ll keep it quiet, Tim says as if C/P is his property or his underling. I’ll see to that. Edward asks, You will, will you? I’m sure of it, he adds resignedly, and no doubt at a price. What _is_ your price? Tim says, Someday, I might want a little favor. I’m prepared to do you a favor right now, Edward replies, by taking Miss Trask off your hands. You may deny being Charity Trask, he tells C/P, but I remember the day you came to Collinwood with your father. Perhaps it is fortunate that he is visiting Judith, because he might not like my suggestion. Stay here with us, he tells C/P--we can get proper treatment for you. Proper treatment? repeats C/P, insulted. Who’ll get proper treatment in this house? There are doctors, Edward replies. I ain’t sick, guv, C/P insists. Do you remember the girl you were when you first came here? Edward asks. I remember coming here with my Carl, she replies. This house holds no happiness in it, for no one! We will change all that, Edward promises. It will never happen, she insists. I love my life, singing at the Blue Whale. I ain’t about to start sitting around at my age! If my Carl was still alive, she adds sadly, it might be different. Edward starts, Miss Trask-- She explodes with fury: You are _not_ to call me by that name! You should call a lady what _she_ chooses, and I choose to be called Pansy Faye! You got that? Take me back where we belong, she tells Tim. She will be all right, Tim assures Edward. Why don’t you come to see us at the Blue Whale sometime. I doubt if I will find the time, Edward replies stiffly, then adds sourly, But I am quite sure that you will find an opportunity to _drop in_ and see me--when you want something. Tim smiles faintly and leaves with C/P.

Who knew Kitty has a mother. Evidently she does. Kitty is up in her room, smiling as she writes a letter, which she helpfully reads aloud for us: Mama, Edward has been exactly as I expected: hospitable, understanding, and very dear. The house is nearly as grand as Hampshire House. He has invited me to stay as long as I wish. Thank goodness, because I would barely have the money to come to you in Pennsylvania. But things are looking up now! She folds the letter and puts it in an envelope, then gets up to get a stamp for it. When she turns back, she is shocked to see a music box--we know it’s Josette’s--atop a couple of books on the table. She recalls C/P’s words: It's a music box. An old, old music box. You must destroy it. It will cause your death. Kitty opens the music box, and Josette’s theme starts up. She recognizes it as the song C/P sang for her....

RIP Made Guy. We hardly knew you.

Wow, did Beth shoot Quentin BEFORE or AFTER we find out about the portrait? My brain refuses to cooperate.

Nice observation about Tim, MT. He might just be trying to get back some of the wealth that the hand seemed to promise. But he still has his long game with Trask in mind, luckily, otherwise he'd be just an idiot.

If anything, it's probably more common for people to threaten to kill someone now.

I was surprised at who actually shot the poor little created guy. His only line was a scream, then poof! He vanished as if he had never been. Charles is appalled at what he's done. Tim offers him a drink and the chance to tell his story. Once again, I try to like Tim again and fail.

Petofi visits Quentin, who is taken aback when he learns that Beth is working for the count. Petofi's main reason for visiting is to tell Quentin to tell Edward to stay away from Barnabas. Barnabas, the count declares melodramatically, is mine!

Tim gets Charles drunk. Charles warns Tim not to tell anyone what he's told him, drunkenly waving the gun in Tim's face.

When Petofi comes down to the foyer, he is pleased to see that the portrait of the "original" Barnabas is gone (but not for long). Quentin explains that Edward had it removed after their recent run-in.

Tim has the nerve to summon Petofi and then keep him waiting. Petofi is annoyed, then astonished when Tim says he knows all about Charles's for manufacturing things. He's even more astonished when Tim says he saw Charles create a person the same way and can do it again--any kind of person, in fact, that Petofi could want. I was surprised that Petofi didn't know the extent of the gift he gave Charles. Tim is more concerned that anything should happen to Amanda--he's still got his plan for Trask to finish.

Barnabas visits Quentin and tells him that Julia is taking care of his needs--Julia rocks!! Quentin tries to get more information from Barnabas, especially about whether he's planning to return to his own time, but Barnabas is vague. After Barnabas leaves, Quentin uncovers his portrait and addresses it: Well, did you find out enough to satisfy Petofi? I doubt it. You don't even make a good traitor, he finishes bitterly as he covers up the painting again.

Welcome, Lady Kitty Hampshire! Although properly she should be Kitty, Lady Hampshire, since the title was her husband's and not hers. But it's fun to see KLS back again and playing a somewhat different role from Rachel. Quentin is the first to greet her and puts the moves on, but for the moment, Kitty is much more interested in the sumptuous mansion she has landed in.

Petofi is so eager for news of Barnabas that he returns to Quentin's room (and saves some production costs too). But Quentin tells Petofi that he learned very little. Petofi declares melodramatically, Barnabas Collins must die! He is sure Julia will explain how to get to the future once Barnabas is dead--although this made no sense to me. Quentin is skeptical of the count's powers until Petofi slashes his (Q.'s) face with a shard of glass. The portrait has a scar, but Quentin's handsome face is unmarred.

Kitty runs into Petofi in the foyer and reacts with loathing, blaming him for her husband's apparent suicide. She dashes out in search of FRESH air, but the count is unfazed. Inevitably she runs into Barnabas and the inevitable story begins to unwind yet again. Sure enough, when Kitty returns to Collinwood she asks about the portrait that should be in the foyer. Oh dear.

Wow, how did they do that??!! That shot is just gorgeous, crisp and clear. Thanks for posting it, MB.