Angelique extorts the location of the hand from Aristede, then leaves him unconscious on the docks.

Edward tells Beth that she is to accompany him and Judith to the Rushmore Sanitarium, where he plans to deposit Judith. She protests that she's looking for Quentin. Edward sneers that he's probably out on a spree and tells Beth not to waste her time. Telling him basically that it's her time to waste, she goes out.

Down by the docks, a man’s patent-leather shoe nudges Aristede (he’s still on the street in Collinsport) in the ribs to wake him up. The shoe belongs to a man with improbably curly gray hair, mustache, and chin beard and blue-tinted granny glasses, with a cape over his dark suit. My head is throbbing! Aristede complains as he gets to his feet. Look at me, the man orders in a strangely hoarse voice. When Aristede does, the older man slaps him across the face. You didn't get the hand, did you? the other man asks angrily. I did get it, says the terrified Aristede, but I have it no longer. I swear I’ll get it back! The older man asks, Was it a woman, assailant, or combination? She was no ordinary woman, Victor, Aristede tells him. She possessed powers. She almost killed me! Pushing him back up against a pillar, the pitiless Victor snarls, She _should_ have killed you and spared ME your ineptitude! I swear I’ll find her and get it back! Aristede vows. No, Victor declares, now that I’m here, I’ll get it back. If that fails, we must employ our alternative plan. That might not be necessary, Aristede points out. The hand is vitally important, Victor says. I suspect its power has already been used--am I correct? Yes, Aristede replies. Then I must put in an appearance, Victor declares. My credentials are in perfect order. I'll go to Collinwood at once--as soon as you answer a few questions, especially about the woman you met. Nervously Aristede wipes his face with the handkerchief that got him into so much trouble.

Beth enters the Old House, which is almost completely dark, and calls to Magda but gets no reply. In the darkness she almost misses the man sitting in the hooded chair. When he gets up, she sees MF Quentin and screams. He begs her not to run, and she recognizes his voice. Quentin explains what happened and declares he'd rather die than look like this for the rest of his life. Go back to Collinwood and forget about me, he tells her [in a display of at least a little actual selflessness!]. I can't do that, she says. It's for your own good, he insists. You have no future with me, not the way I am--go away. No, she declares. We’ll find a way to free you, and I’ll stay till we find it. She leans her head against his shoulder and embraces him. He hesitates a moment, then puts his arms around her.

Having retrieved the little casket with the hand and wearing a dark red gown instead of her garish "puppeteer" get-up, Angelique goes to the Great House to start her campaign of reinstatement. Edward is extremely skeptical and suspects she knew what Barn was all along. Edward adds, I believe you know where he is now. No, she says, and I don't want to know. If you had nothing to fear, he asks, why did you run away? Angelique clearly enjoys plying her feminine wiles and powers of fiction on Edward. In faltering tones, she stammers prettily, I was terribly confused. I knew everyone would suspect me of helping Barnabas. I didn't know what else to do. Then you did know about him, Edward declares. No, she replies, only after we became engaged, not before. And you remained silent while he was victimizing this community? demands the indignant Edward. She looks up, turning the full force of her gaze on him. The victim of a vampire has no choice, she says. I wanted to expose him, but he robbed me of my free will--just as he did with Charity Trask. I was a helpless slave. It was the most shameful, degrading thing that ever happened to me, she says, turning away as if in deepest humiliation. I refuse to be taken in by this show of emotion, Edward says stiffly. She puts down the casket and says, You may banish me from Collinwood if you wish, but you must know the truth. When I met Barnabas, for the first time, I was impressed by him. He was so charming, kind, and when I was with him, I felt warm, safe, secure. When I finally realized the truth, it was too late--I found myself trapped. Barnabas invited me to the Old House one evening. When I arrived, the house was dark, but the door was open. So I went inside and called to him. He answered me from inside the drawing room. When I turned to greet him and saw him, he was not the Barnabas I had come to know and love. Instead, he was a horrible, evil-looking creature!

I was terrified, too frightened to move! she continues. And then … he slowly put his arms around me, and in a moment, I felt his teeth sink into my neck. Again Angelique turns away as if at the horror of it all, then resumes. I fainted. When I awoke, Barnabas told me that I was to become his bride, that I had to agree. I had no power to resist him. I had to agree! she finishes with a sob. You poor child! Edward cries. I had no idea it was that way! Shortly after Barnabas was exposed as being a vampire, Angelique concludes, the marks disappeared from my neck quite suddenly, and I was free again. That's exactly what happened to Charity! Edward exclaims. Angelique rises from her seat and says, I don't know what I will do or where I will go, but I'm ready to leave Collinwood. Edward gallantly assures her. You can remain here, until you make your future plans. There's a knock at the door, and Edward goes to answer it. Angelique smiles triumphantly at her wonderful performance.

The visitor is of course Victor, carrying a letter of introduction from their mutual friend, the earl of Hampshire. Victor claims he has lived an active and sometimes dangerous life and has come to America for a rest. Edward is so impressed with Victor Fenn-Gibbon (to give him his full name) that he invites him to stay at Collinwood for the duration of his visit. Angelique steps into the foyer, carrying the little casket containing the hand. Victor sees her--and the casket. He stares at her avidly as Edward tells him, You will be an honored guest of ours. Edward introduces Angelique DuVal to Victor. DuVal, Victor repeats. Are you French? I was born in this country, she replies, but most of my ancestors were from Martinique. I've been to most of the French colonies, says Victor, and may I say that I have never found one of them to be as exquisite as I find you. Thank you, she simpers, adding, I must be on her way--I promised to take something to a friend in town. Victor's face is livid with fury as Angelique thanks Edward for his kindness and understanding. We will speak later, Edward promises. Carrying the casket with its grisly contents right under Victor’s very nose, she leaves.

What a charming girl! Victor enthuses. Edward invites him into the drawing room for brandy and conversation. Victor explains, I apologize for being unable to speak barely above a whisper. I was with Kitchener in the Sudan. [This would have been about nine years before our present story.] A weapon in the hands of a native pierced my neck and damaged my vocal cords. They almost gave me up for dead! A splendid man, Kitchener--pride, too much perhaps, but a man among men. Victor laughs.

Beth is still kneeling beside Quentin when Angelique arrives with the hand. She orders Beth out, telling her,  What must be done has to remain between Quentin and me. Beth insists frantically, Quentin, I can't leave you here! Gently he reminds her, You said you would do anything to help me--go back to Collinwood. All right, Beth agrees, I'll wait for you there. She glares at Angelique and the box, then leaves. Angelique opens the box to reveal the hand.

Victor thanks Edward for his hospitality and leaves. Where he goes we will soon see.

Let’s get started! Quentin says impatiently. You've waited this long, Angelique reminds him. You can wait a little longer--and besides, we haven't settled on my price. I had forgotten that, he admits. These are my terms, Angelique says: I want you to marry me, Quentin. Marry you? he asks, shocked. Why would you want to marry me, knowing what I am? I have my reasons, she replies. I want to know what they are, Quentin insists. It isn't necessary for you to know, Angelique says flatly. Agree, and I will help you. Disagree, and you fend for yourself. Well, I certainly don't want to stay like this, he says--I accept. Good, she says. Let's get started, he repeats. Sit, she says, indicating the hooded chair. I will be ready in just a moment. She lights a blue candle, holds the magic hand in hers, and intones, I call upon Lucifer, master of all revolted spirits! Protect me! Allow me to use the powers of the hand to do my bidding! But she stops suddenly. Quentin asks, What's wrong? The hand is pulling away from me! Angelique cries. I have no control over it! I don't understand its powers--it's alive! It's on me! Quentin screams. And the hand is in fact on his chest as he screams wildly. The pain is starting! he screams. There's no full moon, but it's happening! Do something! he pleads. Nearly as hysterical as Quentin, Angelique confesses, I don't know what to do! Don't let it happen again! he pleads. But as we watch, and as Quentin moans in pain, his hand sprouts the thick pelt of the werewolf. Angelique holds onto herself in shock, terrified as she looks at the hideous creature sitting in the hooded chair.

Through the window, Victor Fenn-Gibbon watches too....

Aristede (who seems to know all about Quentin and the hand) says he can be very persuasive. To prove it, he reaches under his cloak and pulls out-- the Dancing Girl, which he says was made by a Persian swordsmith but which looks remarkably like a piece of wood. Eventually Quentin is forced to put it on the desk as Aristede holds the Dancing Girl at his throat. Though Aristede is at least a head shorter than Quentin, he is armed and Quentin isn’t. He backs Quentin all the way to Evan’s desk, then takes the box with his other hand. Delighted to have met you, Mr. Collins, he says jauntily on the way out--so sorry we won’t be meeting again. He exits laughing, leaving Quentin furious.

Quentin tells Magda that someone took the hand from him. She figures that Johnny Romano sent somebody at last, and that now she'll be killed. She makes a break for it, but Quentin grabs her tells her she would never escape "that young man." Magda is relieved, because the tribe would have sent an elder after her. Quentin is sure Angelique can take on the entire tribe. He tells Magda to light some black candles. His voice almost ecstatic, he summons Angelique from the pits of hell.

Angelique appears, all right--to Evan. Her characteristic laugh announces her presence as he comes to. She tells him she needs his help to get back into the Collinses' good graces, especially since she quarreled with Barnabas. It's really very simple, she says. Not so simple when your fiancé is a vampire, Evan shoots back. Angelique plays the artless innocent and claims she became Barn's helpless victim. (Yeah, right!) Eventually she and Evan strike a deal to get back at Trask, mainly because she's more powerful than he is. But first she wants Evan to tell her all about the object that Quentin stole from him.

At the Old House, Quentin continues calling to the spirit of darkness to come to him, but nothing happens. It’s no use, Magda tells him. I want to keep trying, Quentin protests, but she says sharply, Give up and go! I gotta leave before the gypsies get me. I don't want you to go! Quentin argues as he blocks her path. Don't try to stop me! she cries. She opens the door to leave--and finds Angelique standing there. You answered my summons! Quentin exclaims. Angelique looks at him, knowing full well who he is, as she calmly enters the house. I didn't realize that, she says offhandedly. I was just passing by. How did you know me? he asks. Judging by your present appearance, she says, that must be quite a powerful hand. Evan told me all about it. What business do you have with Evan? Quentin asks suspiciously. You'll find out in time, she says. But right now, I want to see the hand. You can't, Quentin says. I don't have it. Evan said you did, Angelique says with an edge to her voice. You'd better not be lying. Quentin _had_ the hand, Magda says, but someone took it from him. Someone _else_ took the hand? Angelique asks interestedly. This becomes more intriguing by the moment. Who took it? Magda describes how she stole the hand from King Johnny Romano to try and end Quentin's curse. Highly amused, Angelique says, The curse--you two have been busy. I think you'd better tell me everything--I don't like half truths. I’ll tell you all about it--if you promise to help us. First I’ll listen, Angelique replies, then perhaps.… Go on, Quentin, she prompts him. Begin.

Evan hesitates a long time, then picks up the phone and asks the operator to get him Collinsport 332. LE apparent had the day off, but from Evan's reaction, Edward seems to go into a rant about Barn's fiancée. Evan tells him that the situation isn't how it originally appeared. "The poor girl told me some things you ought to know," he says.

Quentin and Magda have brought Angelique up to date. The man had a knife, so I had no choice, Quentin concludes. Leave the room, Angelique orders Magda. Why? Magda asks crossly. Go! Angelique orders her, and don’t eavesdrop! What I have to say is between me and Quentin. With a scornful twitch of her multicolored skirts, Magda flounces upstairs. Quentin asks Angelique, Are you willing to help me? For a price, she replies--which I will tell you in time. [Quentin should have known!] You're asking a lot of me, and I may ask a lot of you, she warns. Are you prepared to accept that? Quentin hesitates, fearful of the price, which he knows will be high. What do you want from me? he asks. I find your hesitation amusing, she says. Could you possibly be in a worse predicament than you are now? His silence is acknowledgment enough. Forgive me, she says, you needn’t answer. I’ll agree to recover the hand as part of my good-will, then I’ll name my price and you can decide. This sounds like a deal to Quentin. Now tell me what this stranger looks like, Angelique says.

Aristede is strolling on the docks, enjoying the night air and looking for adventure. He is about to pollute said air by lighting a cheroot when a strikingly beautiful blond woman in a garish pink and gold dress steps up and blows out the match. They strike up a conversation. She smiles radiantly at him. He asks, Is it customary for women of this town to be here? Are you a stranger? she asks. Yes, he says. So am I, Angelique says. Where are you from? No place--every place, Aristede says, trying to impress her. That intrigues me, she says with a smile. I was hoping to do so, he says. You did, she assures him, smiling. I am someone waiting, he says. For whom? she asks. You, he says, without missing a beat. I don't believe you, she says. Don't you? he asks. I'll pretend I do, she replies, since it's lonely being a stranger here. Where are you from? he asks. No place--and every place, she answers lightly, and they share a laugh. Are you trying to sound like me? he asks. I can, she says. It's my profession. I'm an actress, a puppeteer who arrived with a puppet troupe. Why aren’t you with the others? he asks. The truth is, she says, I had a quarrel with my.… Gentleman friend, Aristede finishes politely. Yes, she sighs, adding, I felt so terrible, I came down here to be alone, but it's much worse being alone. He takes her in his arms, assuring her, You aren't alone now. She pulls away flirtatiously and suggests, Why don’t I entertain you while you’re waiting. His eyes widen with appreciation as he says, I'm sure you can. Let me show you what I can do, she says. Anything, he agrees. Give me your handkerchief, she says. He takes the red handkerchief from his coat pocket. She holds it up to her nose. Ah, a very expensive scent! she says appreciatively. I like what's pleasing to the senses, Aristede says. I do, too, she agrees. She takes out what Barnabas's toy soldier, the famous “member of the regiment“ that protected David long ago. That's you, she says. Do you recognize yourself? she asks as she wraps his handkerchief around the little figure. Not so dapper as you, of course, she continues, but definitely you. Turn around and he'll call to you in your own voice--what's your name? Aristede, at your service," he replies with a bow. I like that, she says--turn around. When he turns his back to her, she wraps the handkerchief around the soldier's neck and calls, Aristede! in a high, girlish voice. Aristede laughs, observing, That isn't at all like my voice. No, she agrees, a sly look replacing her flirtatious expression. But I did fool you, she says, tightening the red handkerchief around the soldier's throat--and Aristede promptly begins to choke. What's happening? What are you doing to me? he gasps. Choking you, she says with her more usual nonchalant cruelly. Stop! he begs her, clutching his throat. When I get the hand, she says, shocking him. Give it to me quickly, she orders him. Any moment now, it will be too late. To emphasize her point, she viciously pulls the handkerchief tighter and tighter....

Trask and Evan continue their cruel gaslighting of Judith. And now we know why. They have to break her completely in order to get her to sign everything over to Trask. CB is truly scary as Minerva.

Evan assures Trask that he is now the Master of Collinwood--as long as Judith remains ill. Trask assures Evan that Judith will remain ill for a very long time. I suppose that murdering her so soon after murdering the first Mrs. Trask might arouse the suspicions of even the Collinsport constabulary.

Great scene by JB: Still seated at the desk, Judith seems to be in a trance. Minerva is still watching as Trask returns to the room. Dear Judith, Trask says. Winter comes early this year, Judith says in a high, childish voice. I hate snow, Carl. I don’t want to play in the snow. It’s quiet, like death. Edward is dead--did you know that, Carl? I don’t remember. Don’t bury me in the snow, Carl, don’t bury me, she pleads as Trask strokes her shoulder. Don’t bury me alive.

Back at home, Evan resumes his black ceremonial robe and relit the black candles. As he starts the ceremony to reverse the spell, someone (another actor) runs across the screen and yells, Jesus! We hear people talking in the background, but Evan never falters. He calls on the Prince of Darkness and tells Minerva’s spirit, I am content with you, but now I want to leave you in peace. I will allow you to retire without noise and with no further evil.

Minerva follows Trask as he leads Judith to the Tower Room. Judith says, She must go at once. I dismissed her. Good ladies’ maids are hard to find. She must go, she babbles. Can you hear her talking? Trask asks. Beware of berries in the early spring, Judith says. They can be poisonous. In the winter, the snows are deep. Send her away at once, or I will dismiss you, Judith says, looking at Minerva. Please hear me--she frightens me.

Evan dismisses the spirit of Minerva Trask. Spirit of darkness, he intones, you must do as I say because I summoned you. You must obey or I will smite you eternally. Begone! [As he did in his portrayal of Nicholas Blair, Astredo makes wonderful hand gestures!]

Up in the Tower Room, Judith is still terrified of Minerva. But at that moment, Evan's spell takes effect, and Trask watches as Minerva vanishes, then orders Judith to look at him. Judith looks up. She’s gone! Judith exclaims. Yes, and now I must go, too, Trask says as he makes for the door. You can’t leave me here, Judith insists. I don’t like this place. You must stay here for a while, Trask tells her. No, Judith pleads, you can't leave me here! It frightens me! Trask takes her by the arms and asks, Why are you making this so difficult? I'm trying to help you, but you make it more and more impossible. The next thing you’ll tell me is that Minerva is back--and Dirk--and Rachel--and all the dead! He leaves her standing there, horrified at his words. He closes the door and locks it after him. She backs away, staring around, waiting for all the dead to appear. Then she sinks down on the bed in despair.

Trask hurries to Evan's house, and the two villains gloat over a job well done. Evan asks, Will poor, dear, dead Edward object? He can’t, Trask replies with a smile. What good would it do? I'm the lady's husband and sole guardian of the estate--unless your contract has a loophole in it. It doesn’t, Evan assures him--now, about my cut.… I've drawn up another paper, he continues as he brings it out. Too much, Trask argues after barely glancing at it. But my contribution to Judith's present condition, was very important, and flawlessly executed, Evan reminds him. Trask reads the paper and agrees. I'll give you what you want, he says, as long as you continue to help me if I need it. If she begins to regain her senses, I'd want you to bring back Minerva, and Rachel and Dirk. I warned her that she couldn’t control herself. Unknown to either of the conspirators, Quentin, his face still disfigured but his intelligence restored--listens at the window outside as Trask continues, She could create a whole roomful of spirits! Remember what I said, he reminds Evan. Remember what I want, Evan retorts. Agreed, Trask says. They bid each other goodnight. Trask looks with satisfaction at the paper, then walks out.

Quentin enters Evan's house. The lawyer recognizes him despite his ruined face. You recognize the mark of that accursed hand! Quentin declares. But it changed you back--I knew it would! That's why I came here--and it wasn't easy. He gazes steadily into the mirror as he continues, The police are all over, searching for that poor animal--and they'll find him, too. It frightens me to think what they're going to do to him--that freak! That hideous, unnatural being! he finishes with self-loathing. Evan, you've got to help me! Of course I will, Evan agrees smoothly. What do you need? Food? Money? Let me give you a drink. I didn't come for a drink, Quentin retorts, turning down a drink for possibly the first and last time! I want the hand to change me back, too! You'll have to go elsewhere, Evan replies. I don't have the hand--it just happened. You’re lying! Quentin shouts, then frantically begins to search. If you don't have the hand, you won't mind my looking. I _do_ mind! Evan shouts, then launches himself at Quentin. After a brief struggle, Quentin hits him over the head with a candlestick from the ceremony. You do have the hand, he tells the unconscious Evan, and I'm going to find out where. Since they were associates and Quentin knows all of Evan’s hiding places, it takes him hardly any time to find the little casket in the cabinet in the back of Evan’s desk. Suddenly a man’s hand wearing a large turquoise ring opens the french window. Who’s there? Quentin calls on hearing the noise, but gets no reply. As he opens the box and nerves himself to touch the hand, a young man steps into the room (Welcome, Michael Stroka!). He is wearing a cape at an angle over one shoulder and a dark suit with a showy red cravat. Covering his dark hair is a Persian lamb hat, shaped more or less like a large garrison cap. Extending his own hand, he declares, I’ll take the hand, Mr. Collins--now!....

Judith runs to her room to get away from Minerva--but Minerva got there first, as Judith discovers when she hears the rocking chair creaking and turns around to look. Poor Judith pleads with "dear Gregory" not to lock her in her room with Minerva, but Trask insists it's for her own good. He locks her in the bedroom as she screams and pleads, Don't leave me alone with her! Don't lock me in! Do I hear Judith Collins begging? he asks smugly. Let me out! Judith calls, pounding on the door. I will pray for you, Trask says with a smile as he walks down the hall. Judith turns away from the door to see Minerva sitting in the chair, sewing, rocking back and forth, back and forth.

With her characteristic rolling gait, Magda walks into the police station, where she explains to a different police officer: Mr. Edward Collins sent me. Sometimes gypsies can look into the mind. Perhaps I can try to look inside the prisoner’s mind and find out who that one is. It’s best I see him alone. She stands outside the cell and calls Quentin’s name [lucky she’s alone!]. But as she discovers, Quentin still doesn’t know himself or her (though this time he doesn’t even reminisce about the Forest of Aujedon--sp???). I don’t think you know nothing, she tells him in a near whisper, but I’ll tell you why I’m here. Barnabas Collins is coming to get you out tonight. He will take you to the Old House--the Old House. But as these last words leave her lips the constable comes to ask if she’s having any luck. It’s too soon to be able to tell anything, she replies with perfect honesty--we will find out later. She sweeps out, leaving Quentin sitting in the cell.

Judith gets a little of her mojo back when she tells Trask that she doesn't see Minerva any more--even though Minerva is still there. Judith insists she's feeling better. I truly hope so, Trask says, but unhappily, we must remember that this isn't the first time you've been disturbed--remember Dirk Wilkins and his hold on you. How could I have prevented that? Judith asks. Trask replies smoothly, You couldn't--or could you? I wonder if there is something in you that reaches out to unnatural creatures. Other people have been bitten by vampires, Judith points out. Your own daughter was [good one!]. But she caves when Trask insists she should stay in the room and rest--or maybe sew. I’ve never done much sewing, Judith comments. You’ve never been a wife before, Trask replies. Minerva used to sit for hours on end, stitch--stitch--stitch. As he speaks, Minerva sits down again and diligently plies her needle. Trask goes on, Sometimes I would tease her: Minerva, you’re sewing your life away. Please don’t talk about her, Judith begs him, her voice trembling. With a smile, he apologizes for upsetting her and adds, Everything was so quick--her death, our marriage. She still seems so close, so near. Good afternoon, my dear. Rest well, he finishes and turns to go. Don’t leave me, Judith begs. Why shouldn’t you be alone? he replies. You are well now--you told me so yourself. Judith nods, looking terrified and near tears. She turns to look at Minerva, who is still sitting and sewing.

Magda knocks at the door and asks to see "Miss Judith." Trask apparently already knew why Magda has come. They have yet another sparring match, but this time Magda is the loser. Magda remarks scornfully, You probably know everything that happens around here--you makes it your business to. He moves toward her aggressively and counters, I don't make it my business, it _is_ my business--if you understand the difference. I understand quite a lot, Magda assures him. He grabs her arm roughly and says, Judith can continue to wait for you. What a way for a bridegroom to be, Magda says derisively as she pulls her arm away. I want to talk to you, he says. I can't wait to hear it, Magda replies. You will hear it, he says, and then do what I want you to do. You're very sure of yourself, she comments. Yes, he says, we both have our secrets. What do you know? Magda asks skeptically. I understand your sister had two children, Trask says. Magda is shocked and horrified as he continues, You wouldn't want them sent away, would you? Defeated but still defiant, Magda curls her lip in anger and asks, What do you want me to do to Miss Judith? I'll tell you, he says, but first I must remind you she is no longer Miss Judith. She is Mrs. Trask, the Rev. reminds her.

In his cell, Quentin hears a bat squeaking, then the screams of another constable as Barnabas attacks him, very much off screen. (Maybe he was originally supposed to appear but was written out of the ep.) The screams are followed by silence. We hear footsteps approach, and the door to the cell opens noiselessly. At least Quentin has enough smarts to get out of there. He runs past the constable, who is slumped over the desk with bleeding fang marks on his neck, but we don’t see Barnabas at all in this scene.

Magda goes upstairs to see Judith. Her face an expressionless mask, she denies seeing Minerva despite Judith's desperate pleas.

Trask is waiting when Magda comes downstairs. Did you see my wife? he asks. Which one? Magda retorts. You know which one--my poor, sick Judith, of course, Trask answers smoothly. Yes, your poor, sick wife, Magda answers scornfully, her hands on her hips. I made her believe I saw nothing. You didn't tell her you saw it? Trask asks anxiously. No, I didn't tell her, Magda replies disgustedly. Trask is satisfied. Magda says, It’s good that I lied. How did you do it? That’s none of your business, Trask answers. Your business is quite finished here. Yes, Magda agrees. Then she draws herself up as she adds, I only got one thing to say to you: I have traveled all over the world and met many people, some of them low. But you--you are the lowest. If you think that black suit and high collar hide what you are, you are wrong. I recognize you. I know you are a swine! So saying, she spits on the ground at his feet and marches out.

The foyer clock strikes midnight as Quentin, his face still unrecognizable, returns home. Where am I? What is this place? he murmurs. Who am I? (His disfigurement hasn’t affect his speech.) Hoping for answers, he enters the drawing room, wanders over to the gramophone and turns it on. The No. 1 hit of 1897 wafts into the air. Strangely it seems to assist his memory, because he starts reciting the words to “Shadows of the night.” Judith hears the music and comes downstairs. She screams when he turns to face her. Judith, be quiet, he warns her, taking her arm gently. Who are you? How do you know me? she asks as she pulls away. I am Quentin, he insists. She turns to run out, but he takes her arm again. Don’t get anyone, he says. Let go of me! she says, I’m afraid! You mustn’t be afraid of your own brother, he says, I’m Quentin! [Judith should know who Quentin is. He speaks in Quentin's voice, plays Quentin's music, speaks Quentin's words to the music, and resembles Quentin in every way except for his face.] You’re not! she cries. I want help, he pleads. They’re after me! Who? Judith asks. The police, he answers. I don’t understand it, she exclaims. Who you are, how you know me, why you’re here! Because it’s my home! he insists. I _am_ Quentin! Judith backs away from him--and almost straight into Minerva, brandishing a wicked-looking letter opener--or is it a knife?...

Barnabas became a vampire in 1795/6, well after the Revolution. When Ben first shows Barnabas the secret room as a possible hiding place, he tells him that--to Ben's surprise--Joshua was a Patriot and originally had the secret room built as a place to hide weapons. Some time later, we find out that Joshua fought against the British and came home wounded, which frightened Barnabas, who was a boy at the time.

Joshua hid Barnabas in the Tower Room for a while, but eventually had his coffin moved to the secret room. When he couldn't bring himself to kill Barnabas, he had Ben put the chains around the coffin.

No fangs in the 1931 Dracula? I'll have to check it out again!

I have my own theories about what happened to some of the 1897 characters, but it's pure speculation on my part.

You're right, MT! MFE's eyes have switched between episodes. There are frame grabs at DS Wiki--check out ep. 784, where the Ping-Pong eyeball is on his right eye.

The sheriff's deputy phones Trask but gets Edward instead. He tells Edward that they've caught the animal and locked it in a cell. But Edward's first stop is the Old House. He accuses Magda of continuing to help Barn and waves the gun with the silver bullets around as he promises that he'll deal with Barn the same way that he's about to deal with the "animal." Magda can't hide her concern but is extremely unhappy with Edward's vocabulary lesson: Tonight's word is "lycanthrope," and Edward defines it and uses it in a sentence. Where is he now? Magda asks nervously. Safe behind bars at the jail, Edward answers with satisfaction. Magda licks her lips nervously. Carefully looking away, she replies, I hope he don’t disappoint you in the morning. I hope _you_ won't be here by then to find out, Edward barks. I want you gone from Collinwood by tomorrow. That is my order, and I'll enforce it by the police, if necessary. By now very practiced in dealing with this sort of threat, Magda asks slyly, And let the police know that one of the Collins family is a vampire? Edward is so angry that he almost inflates as he glares at her. No, she says, you have too much family pride. Something you know nothing about, he retorts. Be angry at the _Reverend_ Trask, Magda suggests. He invited us to stay. He hasn't the authority, Edward thunders. _He_ isn't Collinwood's master! Look again, Magda suggests. I think he is! With heavy sarcasm, he says, I will attend to the good Reverend Trask when I come back from town. He marches out, leaving Magda grinning--for a moment. But she has other concerns and glances out the window to see Barnabas standing outside.

It appears you had a busy night, Barnabas observes sarcastically as Magda closes the door after him. Much has happened, she agrees. Much usually does, when left with you, he comments. Tell me everything. She sits down and begins, You got to forgive me. For what? What did you do? Barnabas asks. Magda confesses that Quentin begged her to use the hand, and she did--but it didn't work, she finishes sadly. I felt sorry for him. Barnabas tells her to leave Quentin to him and to go get the hand. She disappears through "Willie's door" but comes back--empty-handed. It seems she's forgotten their other guest--Evan Hanley. Both he and the hand are gone. I'm sorry, she says. Not half as sorry as you will be if you don't get it back, Barnabas warns her. How can I do that? she asks. Go to where he lives and get it, Barnabas orders. But if he is in possession of the hand, I'm helpless, she protests. If anyone else is in possession of it, we are _all_ helpless, Barnabas points out. Go get it! I will do what I can to free Quentin. He hurries out.

Evan is at home, looking at his ruined face. Apparently his faculties have returned, but before he can use the hand on himself, Magda arrives. He hides the hand and lets her in. She stares at him in amazement as he quickly lets her in. What do you want from me? he asks. I didn't expect your recovery to be so quick, she says. Do you call this a recovery? he demands. You have your senses and you can function, she says. I'll never be able to function with this face, he protests, his voice scaling up. What do you want? You have no business here! She tells him sternly, You got something that don't belong to you. I don't know what you're talking about, Evan lies. The books (?) you took from the Old House, she says. The book? he asks (good save, HAA). The hand! Magda replies, rescued. That wretched thing! he huffs. What would I want with it? To change your face back to the way it was before, she replies promptly. I don't know where it is, he insists. And I don't want to see it again! You're lying, she says. You're the only one who could have taken it. She starts to look for it, but he orders her out. She points out that unless he knows how to use the hand, it won't help him. Cagily she admits that she might know how, but Evan says he doesn't trust her. Magda argues that the hand messed up his face, and that the hand is beyond anyone's control. They end up having a furious argument. Magda tries to negotiate, but Evan refuses: Restore my face, he shouts, and I will give you the hand! Ah, then you're admitting to having it! she pounces. Yes, he says, but you will never see it again if I stay as I am. I need the hand to help you! she reminds him. Perhaps I should try it myself until I find a way, he suggests. You'll be wasting your time, Magda insists. Perhaps, he says, clearly frustrated, but if I fail, I will seek you out some night and will use my two hands--to choke you to death! he shouts as he grabs her by the throat. She struggles, pulling his hands off her. He pushes her away contemptuously. Get out and never come back! he orders her. You will change your mind! You will, when you find out how helpless you are! Magda shouts as she storms out. Evan returns to the mirror to inspect his hideous countenance.

The werewolf paces around its cell. The jailer hears a squeaking sound, and the next moment Barnabas is in the office. He uses his vampiric gaze to subdue the man. Barn is actually unlocking the cell when he hears Edward's voice outside.

In the following wonderful scene, Barnabas has no choice but to go out to the main office, where Edward is speaking with the deputy. Barnabas! Edward shouts, holding up his cross. Barnabas flinches aside, then stands behind the unmoving constable, using him as a shield while Edward takes out the gun. Put away the gun, he warns, unless you want to shoot my innocent captive first. I was right, Edward says. You _do_ know about the creature. Yes, Barnabas admits. I've come here to help him escape--but not for the reasons you think. I'm not interested in your reasons, Edward says dismissively. You should be, Barnabas says. They have everything to do with the future of the Collins family. How can you talk of the future? Edward exclaims impatiently. You're from the past. But for a foul bargain no doubt made with the devil himself you wouldn't be here now. How little you know about me, Edward, Barnabas sighs, deeply hurt by the man whose own grandchildren and great-grandchild he loves and is trying to save. If my grandmother had lived a day longer, I'd have known a great deal about you, Edward says. In a way, I'm sorry she isn't living now, says Barnabas. This is hypocrisy, Edward fumes. I blame you for killing Edith to prevent her from telling the secret she'd held for so long. That is untrue, Barnabas replies, but not in anger. I wish there was some way I could make you understand. There isn't, Edward retorts. Nor is there a way for you to help that creature in there. I intend to stay here until morning. You will be sorry, Edward, Barnabas tells him, not in warning but with great sadness (heartbreaking!). Irritably, Edward comments, In one breath, you say you wish I could understand, then in the next, you threaten me. It’s not a threat, but a fact, says Barnabas. Let that man go, Edward orders him. I will, Barnabas answers--if you put that pistol on the floor. And if I refuse? asks Edward. Don't make me do something we'll both regret, Barnabas pleads (and he really is pleading!). Edward slowly puts the pistol down on the floor but says bitterly, What you are will never be a secret now. How long will you be able to lead this fugitive existence? How long before we find your coffin and put you back in the grave where you belong? Stepping away from the constable, Barnabas says with quiet sorrow, I’m sure this isn’t the last time we will meet, Edward. Then he simply vanishes, leaving the deputy blinking and confused but completely recovered. Are you all right? asks Edward. Yes, the man replies. Who are you? I don't remember you coming in. [Shouldn’t he recognize one of the Collinses?] What do you remember? Edward asks. The deputy says, Sitting in my chair, getting up to close the door--but then I remember nothing. I'll try to explain it, Edward says. I will stay with you until dawn. I'm very anxious to learn what will happen to the creature in the cell--something you will understand all too clearly when the sun rises. The deputy warns him, The sheriff might not want you in the back there. The sheriff doesn't realize what this animal is, Edward replies. The creature in there is a supernatural being, and when dawn comes, a transformation will take place and turn it into a man. The question is, what man? The werewolf paces in his cell.

At the Old House, the mantel clock below Josette’s portrait strikes five as Barnabas and Magda commiserate. We have both failed, Barnabas says. In a few moments, Edward will know Quentin’s secret, and there’s nothing we can do to prevent it. Then your mission has failed, Magda comments with genuine sympathy. I don’t see how it can mean anything else, Barnabas says. The events of this era will be changed by what Edward discovers and will change the future accordingly, Barnabas frets. Magda suggests gently, Maybe you should return to your own time, before Edward learns about Quentin. My own time, Barnabas repeats: I hate that word. In every crisis I’ve ever had, time has been my greatest enemy. On cue, the rooster crows. Barnabas heads back to his cave with the despairing comment, Time is running out!

Edward watches from a safe distance as the creature swats at him through the bars of the cell, then paces back and forth. Edward walks around the cell, gazing at it. In a moment the sun will be up, he tells it, and I will know who you are. Suddenly his eyes open wide at what he sees....