Kudos to both young David Henesy and Terry Crawford for their scene together and to TC for her scenes with Angelique and Quentin!

When Beth first appeared to David and Amy and to Barnabas and Chris, she wore an elaborate, light-colored lacy gown, but now Julia sees her in the ordinary workaday gown she wears in 1897. Strangely, she tells Julia, "My name would mean nothing to you." But Julia knows she's Beth, though she might not know her full name.

It is curious that Beth can reveal everything about the original 1897 story. Either Quentin the ghost doesn't know or just doesn't care, now that he's virtually sure of getting David. Anyway, the scenes are very compelling. And it must have been a relief to Beth the ghost to tell someone.

Yes, MT, I laughed at Angelique's comment. Angelique watches poor Beth run upstairs and comments to herself, You will get over it in time, my dear. Everyone does. [Well, almost everyone.]

Maybe now that Rachel is long dead, Beth is taking care of David in her spare time. His find-the-objects puzzle looks like a genuine one from the time. I think you can get reprints at the Museum of the City of New York now.

In a wonderful scene, beautifully written and played, Jamison stops Beth from taking the poison, then shows himself to be far more of a man than his uncle: You’ve always been good and kind to me, he tells Beth sweetly. Oh, Jamison! she sobs again. He tells her, I won’t leave you alone unless you promise not to do anything to hurt yourself. Will you? She turns to look at him and promises. Jamison is satisfied. I have something to do now, he tells her, but I’ll come back and talk to you later. He takes the poison when he leaves. Yes, later, Beth murmurs--as she takes a pistol from the top dresser drawer. She pauses, then hastily puts the gun back in the drawer and sits down on the bed again.

Jamison goes downstairs and reads the riot act to Quentin. Quentin has the grace to be shocked and saddened. BUT DOES THIS MEAN THAT ANGELIQUE WAS ALWAYS GOING TO BE IN 1897, WHETHER OR NOT BARNABAS WAS??? OR, IN THE ORIGINAL STORY LINE, DID QUENTIN DO SOMETHING ELSE TO MAKE JAMISON REJECT HIM???

Quentin's look of disbelieving surpring when he realizes that Beth has actually shot him is perfect. So is Beth's proud dignity when she leaves her room, then her deranged laughter as she shoots Quentin repeatedly (pretty strong stuff for a daytime soap).

After Beth finishes her story, Julia returns downstairs and finds David, forced there by the malevolent Quentin. Quentin finally speaks, gloating to Julia that David is his--but he vanishes when Professor Stokes walks in. Quentin doesn't really need to stick around, now that David is-- dead.

I never knew that Roy Thinnes wanted to play Trask. He certainly went to town with it! I agree, he was the scariest, creepiest villain in the show, and the script gave him lots of opportunities.

Right on all counts, both of you. And yes, it never occurred to me, but unfortunately Jamison would be just the right age (his mid- to late twenties, I guess, assuming he was about ten in 1897) to be in WWI.

Edith might have told Judith the secret--I feel sure that Judith would have become Mistress of Collinwood even if Barnabas had never arrived. After all, she had been taking care of Grandmamamama for a long time before 1897. Judith would never have told Edward, although she might have woken him up in the middle of the night just to make him think she was going to. She might have died while Jamison was off in Europe and never gotten the chance to tell him.

Thanks, MT. Angelique always seems to gravitate to whatever portion of the Collins space-time continuum Barnabas is in.

I suspect that at this point, Edward wouldn't believe Barnabas about September 10. He certainly doesn't believe that Barnabas became a vampire involuntarily.

It seems that even the "first time around," Edith died before she could reveal The Secret to Judith or Edward. In 1966-69, Elizabeth certainly didn't know about it, so presumably her father,[spoiler]Jamison,[/spoiler] didn't know either.

And then, of course, there's the Adam Factor. Joey, good for you for remembering that. In fact, Barnabas frequently refers to living and breathing, although an ordinary vampire can do neither. Nor does he really need the light of even a single candle to write his letter to Julia. But fortunately for us, Barnabas is no ordinary vampire.

I suppose one could argue that Barnabas changed everything just by going back to 1897. He did arrive in his coffin in that year and had to send out a message, which the hapless Sandor obeyed. But after that, things started changing just because of his mere presence.

I wonder if at this point the writers had any idea how they were going to wind up the whole 1897 story. There are still a lot of plot points for us to get through.

Stokes seems fine with the idea that they may never know why Barnabas's corporeal body disappears. But poor Julia is near tears.

We get another fine scene with JF and LE. In his prison cell, Barn tries to reach Edward (who is still wearing both his coats) by telling him that the entire future of the family is at stake, but Edward isn't having any. Barn guesses that Edward plans to shoot him with a silver bullet--after all, his father was supposed to, so this is familiar ground. Edward thinks that vampirism is a lifestyle choice. It was impossible for me to prevent what I became, Barnabas says with patient sorrow. As long as I live and I breathe [though in fact a vampire can do neither], I carry the Collins name. I know you would never do anything to hurt a member of the family. It is my duty to kill you, and I will do it, Edward retorts. Then do it, Barnabas dares him. Edward aims somewhere in the area of Barnabas's chin rather than his heart, but in the end, he can't pull the trigger. As a fly flits by, he decides that he will return an hour before dawn and watch whatever will happen to Barnabas when he can't regain his coffin.

Barnabas sits on the cot to think about how he can escape. (Petofi’s mark is presumably still on his hand, so he can’t simply Dematerialize.) He stands and paces the cell--and notices a tall secretary-type desk against the back wall. Having decided on a course of action, he takes the only candle and sets it on the desk, finds a pencil and paper in the desk, and sits down to write. A few moments later, we hear him read over the note to himself:

My dear Julia: I am writing this letter on the fifth day of September of the year 1897. I am locked in a cell in the basement of the Old House. In another eight hours I will die. It is my fervent hope that this letter will somehow survive time and be brought to your attention in the year 1969 in order that you may know why my mission to the past was a failure. I learned only during the last twenty-four hours that on September the tenth next, Quentin Collins will die. (Barnabas hears something, gets up and walks over to the cell door to look out into the basement. Standing there, he finishes reading the letter.) As prophesied, three events were to happen before his death. Two of them have. Only the third remains--his rejection by Jamison. My plan was to return to the present, contact Quentin's spirit, and find out who killed him. With this knowledge I could have prevented his death and thereby saved David Collins. All of this has been prevented by one Edward Collins, who learned my secret some months ago and became my implacable enemy. He has trapped me here. There is no escape for me. I am, and shall be to the end, your good and devoted friend, Barnabas Collins.

Barnabas folds the letter, puts it in an envelope addressed to Dr. Julia Hoffman and seals the envelope. He presses a knob to open a secret compartment in the desk (half as wide as the desk) and puts the letter inside, then closes the compartment and steps away from the desk.

In 1969, Amy Jennings is still staying at the Old House, so we know that Quentin the ghost is still the master of the Great House at the top of Widows’ Hill. She is in the drawing room, playing with her dolls, Debbie and Amanda. (They look remarkably like poor Jenny’s “babies,“ and Amy has even named one of them Amanda.) She reaches for a book at the top of the tall writing desk and accidentally triggers the knob that opens the secret compartment--now just as wide as the desk. Lo and behold, she finds the envelope.

Downstairs, Stokes very kindly suggests to the despondent Julia that she should go upstairs and rest. He will stay on watch. Amy is just about to open the letter when Julia comes upstairs. She spots the letter, opens it, starts to read it, and stops with a gasp. Without another word to poor Amy (who must be pretty lonely), she hurries back down to the basement.

Julia shows the letter to Stokes. This is the most astonishing thing I have ever seen in my life! he declares, absolutely delighted. The date on the letter is September 5, Julia points out. And today is September 5, 1969, Stokes replies. Barnabas is in a past that somehow runs parallel to our present, he concludes. Then Barnabas is still alive! Julia exclaims. Stokes points out, According to this letter, not much longer. Somehow, he will die in less than eight hours. Julia cries, We have got to do something! Stokes says, First of all, I must find out if my understanding of this letter is correct. I am assuming that you know something about Barnabas Collins that I do not know. Julia says evasively, I don’t understand. Stokes explains: One passage in this letter is a complete mystery to me: "But all of this has been prevented by one Edward Collins, who learned of my secret some months ago and became my implacable enemy." What does that mean, Julia? What is Barnabas Collins's secret?

I don’t know, Julia insists (after the commercial break). Surely she must have know that Stokes would ask this very question if she showed him the letter, but this indicates how desperate she is. Surely you know what Barnabas meant, Stokes insists, but Julia is adamant in her denial. The letter takes it for granted that you do, Stokes points out. He waits for her answer. Finally Julia has an inspiration: Perhaps Edward has discovered that Barnabas came from another time, she says. Stokes thinks that Edward must be crazy. Julia loyally declares that this is entirely possible--and that they must proceed on what they know: If Barnabas dies, then all will be lost for David Collins and Chris Jennings. Stokes is baffled. True, he says, but I don’t have any idea of what to do. I have two ideas, Julia says: I am going to try to reach Quentin (she means via Amy), and then I am going to try to go back into the past to save Barnabas. Stokes points out that David is near death, but Julia says that Amy isn't in any danger--if Quentin had wanted to possess both children, he could have done it long ago. Eventually Stokes agrees to help, mostly by studying up on the I Ching.

Upstairs, Amy is terrified to return to the Great House but agrees to help for David's sake. We’ll go right away, Julia declares. Get your coat--it’s storming outside. Stokes comes upstairs. As Julia puts on her own coat, she assures him, I feel sure we _will_ return safely. He nods, then with Amy’s dolls to keep him company, sits by the fire and adjusts his monocle to read the Book of Changes.

Julia and Amy arrive at Collinwood, now dark and empty under the reign of its ghostly master. Julia is apprehensive, Amy is terrified. What part of the house might Quentin be in? Julia asks. It doesn’t matter, Amy explains. Quentin always knows when someone is here. Then call to him, Julia suggests. Amy calls out, Quentin! Quentin, can you hear me? The only response is thunder rolling through the house. Amy calls again: Please answer me! I’ve got to talk to you. It is terribly important. The thunder and lightning continue. It’s no use, Amy decides sadly. Quentin isn’t going to answer. Please, let’s go back to the Old House. Julia hesitates, then sadly agrees. As they turn to go, Quentin’s music starts to play. Julia listens to find the source of the music, but Amy shrieks, He’s coming, he’s coming! and bolts out the door. Lightning flashes through the stained-glass windows as the camera pans to the door at the end of the landing. Alone in the foyer, Julia prepares to face Quentin....

Right about the date, MT! Another great hypothesis shot to heck. But still, very arty. I can't think of a recent show in which one of the characters is involved in the arts, but I'm not really thinking very hard at the moment.

Good episode. I like how the writers let us share Charles's journey toward his dreadful discovery. That's why we could all yell, "AHA! I knew it!" at the TV--as I remember doing myself.

I've also always loved the prominent place of the arts in this series. Many story lines hinge on portraits and musical themes. That would never happen today.

In Charles's latest portrait of Amanda, she is wearing the rose-pink gown of the previous (and present) episode. This is a different portrait than the one we have previously seen and will continue to appear through the rest of the 1897 story line. As Petofi reminded Charles, he has painted many portraits of his ideal woman. And yes, beware of the Terrible Twos!

Pansity practically has a cat fight with the unsuspecting Amanda before the Reverend arrives but gets a swing and a miss for strike one when he calls her Charity. Stop calling me that stupid name! C/P says. It won’t stop me from speaking my piece. Did you ask _her_ to stay here? she asks, sweeping her hand in Amanda’s direction as if to brush away a load of trash. Miss Harris is here as my guest, Trask replies, for strike two. Go up to your room, he orders his daughter, pulling her hand behind her back as she fights him. Wait here, he tells Amanda--I’ll be back shortly. For strike three, he drags C/P up to her room as she shrieks, Quentin, come help me! What kind of household is this? Amanda wonders to herself as she holds her aching head in her hands.

Nice scene with Quentin and Charles. (Charles seems to be RD's best character.) Quentin brings Charles upstairs to his room, probably via the servants’ door because Charles protests, I don’t like sneaking around. It’s because of _that_, Quentin says as he points to the covered painting. What do you think I’ll see? he asks. Your own face, Charles replies, mystified. Quentin pulls the cloth away, and Charles is astonished to see that the portrait depicts the werewolf. Just how did that face get there? Quentin asks. I have no explanation, Charles says. I’ll go to Petofi for an explanation, Quentin decides. Charles suggests, Maybe you should just accept that sometimes things happen for which no explanation is possible. You don’t have to know about everything in the universe. But as he looks more closely at the portrait, we can see that he is uncomfortable. Are you telling me not go to Petofi? Quentin asks. I wouldn’t tell anybody to go to Petofi, Charles answers. But you can do as you like--good night. As he leaves, Quentin grabs him and wraps a long arm around his throat. Very softly he warns, If you tell anyone about this, I’ll kill you. I am an artist, Charles huffs. The only thing I tell anything to is my canvas. He pulls away and leaves. Frustrated, Quentin covers up the portrait again.

Charles runs into Trask and says he's ready to start Charity's portrait. Trask mutters that his daughter is unwell. Charles offers his sympathy, then Trask gets a brainstorm. There is someone I would like you to paint, he says--a dear girl, buffeted by life, in need of confidence and stability. Yes, it’s an admirable idea, he adds, pleased with himself. He brings Charles to the drawing room and announces, We have a great honor--Charles Delaware Tate wants to paint your portrait. Charles is absolutely thunderstruck when he sees Amanda. Mr. Tate, the oblivious Trask says, this is Amanda Harris. I know, Charles murmurs, I know.

Amanda has never seen Charles before, so she doesn't understand how he seems to know her. (She did hear Petofi mention Charles's name in a previous ep.) Bewildered and beginning to be scared, Charles presses her to tell him about herself. She is equally scared and insists that there's nothing to know--but that she feels as if she should tell him. Why?

Trask returns to Pansity's room, fuming that she's a disgrace. She fumes back that he should get rid of That Woman. Vowing to return to Collinwood as Mrs. Quentin Collins, she starts stuffing her belongings into a little bag.

Tell me about yourself, Charles begs Amanda. I don’t know anything about myself, she answers hesitantly. You have to tell me, Charles insists. Amanda says slowly, Well, I remember a newspaper lying on the street. I-- It was a strange street. I picked it up. I didn't have a purse or jewelry or... or anything that would give me a hint about myself. She gets more distraught as she continues, You don't know how many hours I read that newspaper, trying to find something ... just something that would help me remember anything before that date. It wasn’t that long ago. What was the date? he presses her. She says it was March 11, 1895. Charles tells her, Wait here for me. I can’t explain what I have to do any more than you can tell me about yourself. He runs from the room. Amanda hurries after him to the front door, but Charles is already gone. At that moment C/P comes downstairs with a ridiculous little green hat perched on her head and a gray-green boa around her neck. You’ve won the battle, she tells Amanda, but not the war. I’ll be back--and when I return, I’ll send you packing. You’ll be very unhappy in this house and so sorry you ever stayed. Charity laughs as she leaves.

Charles returns to his studio and finds the first charcoal sketches he made of Amanda--dated March 11, 1895. My hypothesis is that the medium is the message: In other words, charcoal isn't as permanent as oil on canvas, so maybe in order for Amanda to be a real live girl, Charles had to go all the way and paint her.

Quentin finds Amanda in the drawing room and tells her that Mr. Tate is not for her--he's much too serious. Q. takes Amanda in his arms and they dance to Quentin's Theme as we hear him recite the "Shadows of the Night" poem, and very nicely too. Trask bursts in, sexual jealousy oozing from every pore as he yells at poor Amanda that she is never, ever to be alone with Quentin again.

Meanwhile, poor Charles has his "aha" moment: Charles is busy sketching a still life of some fruit and a vase of ferns. He is almost done, but thinks to himself, Something is missing--something else should be on the table--a tall vase, he decides. In fact there is an empty space in the drawing, in the back and to the right. He starts to sketch, drawing a tall vase with two handles and flowers in relief on the front. Much better, he says with satisfaction. He looks up to check the arrangement--and is stunned to see that a vase identical to the one he just drew is now sitting in the empty space, precisely where he sketched it in. He touches the vase, then looks back at his drawing. He picks up the vase and finds it all too solid. No! No! he gasps........

I think Quentin is on a roll, relieved that for once the transformation didn't take place. That might explain his 0 to 60 switch.

Trask has more on his mind than exposing his brother-in-law as a werewolf. He goes to a spot in the woods, digs what passes for a deep hole in the Collinwood Universe, and after a brief glance at it, buries--he hopes forever--his and Evan’s confession to Minerva’s murder.

Quentin demands an explanation from Petofi and even refuses a second drink so he can keep a clear head.

Tim laughs uproariously as he gives Amanda her final instructions for duping Trask. But she can barely force herself to endure Trask's mere presence. She and Quentin re-meet cute, and suddenly she changes her mind about staying at Collinwood.

I’m glad you know so much about a girl like me, Amanda tells Quentin, more than I do myself. He approaches her with a smile. You’re beautiful, he says point blank. And you’re handsome, she replies in kind, and neither of us are very happy--are we? Smiling at her candor, Quentin asks her, When you were a little girl, what did you wish for when you saw the first star at night? Unconsciously moving closer to him, Amanda says, I don’t remember ever wishing on a star. Quentin draws closer to her till they’re practically nose to nose and says, I want to get to know you a lot better; perhaps we can talk again sometime. I’m sorry, but I’m afraid I must go. I have to make a phone call, Amanda realizes. Well, Quentin says, it has been an unexpected pleasure--but then this whole day has just been full of surprises, he adds dryly. If you’ll excuse me.... After he leaves, Amanda needs a moment to get her breath back, then calls Tim at the hotel again and says, I’ve changed my mind--I will stay at Collinwood. Tim is pleased but asks, Why did you change your mind? Amanda says, You were right, I just let myself get too worked up over things. I think things will be fine at Collinwood. As she hangs up, Trask returns just in time to hear the last sentence and asks who she was speaking to. Amanda says, It was the manager of the inn. He’s taken a fatherly interest in me and is sending my luggage right over. Trask turns away to hide a particularly lecherous smile. Amanda smiles too, but her far softer smile is prompted by another emotion altogether.

In the outer room of his suite, Quentin hesitates. I don't even want to think about that girl, he tells himself. If she had met me tonight under a full moon, she might be dead by now--if the miracle had not happened. But how did it happen? That is what I should be thinking about. Quentin opens the door to the bedroom and is annoyed to find his unwanted portrait, still wrapped as Petofi left it (though now it has acquired a plaque that reads Quentin Collins, 1897). Quentin pulls the cloth off the portrait--then gives a strangled cry of revulsion and buries his face in his hands. Not only is he wearing a brown suit in the painting instead of his usual gray, but his face and hands are those of a werewolf.......

Big question: Why doesn't the painting of the werewolf have him wearing a gray suit, like Quentin usually wears? Or is that part of Petofi's plan to conceal the WW's identity?