884 - Barnabas returns to the blackened ruins of Tate's studio to see "whose lives are ruined, and which changed forever," according to the intro. He finds Petofi's watch, and wonders what it means--was he destroyed in the flames--is this all that remains? Difficult to believe, yet we must--no one could survive a fire like this--or could they? He lifts up a length of chain, then drops it. As he leaves the studio, he finds Petofi's glasses outside on the ground. He picks them up and feels a hand clutch his shoulder...

It's Charles Tate, who is furious--"You did it!" he accuses Barnabas--all of you with your schemes and plots destroyed my studio and destroyed my work! Charles enters the studio.  Barnabas follows, expressing his sorrow. Get out of here, orders Charles, or I'll kill you, I swear I'll kill you. I can't go until I know whether Petofi is dead or alive, insists Barnabas--as far as I can tell, he and Garth were in this fire when it started, and there's also evidence they died in this fire--but I also found the glasses. If he is alive, says Charles nastily, he couldn't get very far without those, especially with that creature after him. Do you think Garth was after him, asks Barn, or did the fire reclaim the Master of Dartmoor? I don't know, answers Tate, and believes none of us will, and besides, I don't care. Continue to paint other portraits, urges Barnabas. Charles picks up a tattered canvas and says, I cared a great deal about some of the portraits destroyed here! And there was one particular portrait someone else cared about, says Barn.  Quentin Collins, says Tate, we're back to that. Was his portrait here? asks Barn. I did steal the portrait, he confesses, believing it would do me some good, but now it won't do me or Quentin any good.This pleases Charles. Then the next time there's a full moon, says Barnabas..."You'd better stay away from Quentin Collins," advises Tate. There has to be a way of stopping it from happening, says Barn--you must paint another portrait of Quentin, you must--if you did it before, you can do it again (but what about Petofi's power, if that's not there, then what happens?)  Quentin isn't my favorite person, says Tate--I'll tell you what--I'll do it, tonight, about 10 o'clock.  Is that time enough for you? asks Barn. Charles grins--there's no questions about it, he says.

Trask, not looking at all well, tells himself, I'm down to my last candle, and once it goes out, there will be everlasting darkness. Is it dark now, or day? Which day? Is the sun shining? I wish I could see the sun, I remember i used to put the students in a dark room to punish them. Some were afraid of the dark, and they'd scream...let me out! Trask himself begins to scream, "Let me out, I'll be good, I promise!" The phone rings; his eyes fill with hope. Judith, don't hang up, he cries, don't go away. I'm not going anywhere, she promises, neither of us is. You can't commit murder, he protests, it's a sin, and wrong!  She smiles, reminding him, it was wrong of you to kill Minerva, and Mrs. Curry in Fall River. I didn't kill them! cries Trask.  And I won't kill you, says Judith, I swear I won't come near you--goodbye, Gregory.  Please listen, he begs--I'm cold and hungry, please, you've punished me enough, whatever I did to you isn't bad enough for you to do this to me. You're right, says Judith, always right, and that's why I have a surprise for you--go to the alcove and look behind the drapes--he'll find something to brighten that dark room.  "Goodbye, Gregory," she says, and hangs up with a sly smirk. Trask checks the alcove and finds the portrait of Amanda. In a fury, he destroys it.

New York -  Quentin has located Amanda.  He goes to her hotel. She joins him, running into his arms.  I should ask questions, demand explanations, she says, delighted, but I can't--I'm so glad to see you again, and all I care about is that we are together. Gently, he says, "We won't be together." Why not? she asks--because of what I am? No, because of what I am, he says--I didn't meet you at the station because I had to find a very important portrait that controls what I am--without it, I become a monster capable of killing anyone, including the person I love. I don't believe it, insists Amanda.  You must, because it's true, says Quentin--that's why I can neither marry nor stay with you until I find the portrait. You can't just go away! she protests. I know it hurts both of us, says Q, but I'll hurt you so much more if I stay--that's why we must say goodbye.Amanda looks miserable at this prospect.

Kitty comes downstairs at Collinwood, bags packed. She is about to make a call when Judith comes into the foyer, asking what's with all the luggage? Guiltily, Kitty says, I'm leaving Collinwood--I don't know where I'm going, but I am leaving forever. Judith is shocked.

Isn't this very sudden? Judith asks.  Yes, admits Kitty says yes, but I've been thinking of it quite sometime. Judith is amazed--I can't imagine Edward just letting you walk out of here. Edward doesn't know, reveals Kitty, and I'm not going to tell him. He's done a great deal for you, Judith reminds her. I know all that, says Kitty, but I also know I'm suffering from a serious condition I can't share with anyone, particularly Edward, who's a dear, foolish man, better off without me.  She slips off the ring Edward gave her and says, "Someday he'll find a girl more worthy of this ring than I am--and I wish her happiness, whoever she is. She hands the ring to Judith.  I'm sorry we won't be sisters, says Judith--I admire people who can face the truth and do something about it--I'll arrange for a carriage to take you to the station. Kitty thanks her. Judith leaves. Kitty walks over to Barnabas' portrait and asks, "Did you hear what I said? I'm never coming back here--when I leave, it's forever, to live my life, for all my life--I've got to live my own life and you've got to let me do it, do you understand?" Josette's music begins to play while Kitty is speaking.  She covers her head and runs out, leaving her luggage behind.

4:30 - Judith writes to Tim, telling him the plan she's been working on is coming along most satisfactorily and should be completed soon. Tomorrow I want you to come here, take down the bricks, and panel the anteroom so it's completely cut off from prying eyes forever. She grins with pleasure.

Josette's room - Kitty holds up a candelabra and speaks to the portrait--whatever link exists between us must be broken now--I'm going away, and not coming back, to live my own life, and you can't come with me--please, let me be myself, I've got to forget Josette duPres. She replaces the candelabra and hears Josette speaking to her, "Kitty Soames...it is Kitty Soames you must forget..."  Barnabas enters the room--Kitty! He calls.  Don't come near me, demands Kitty, I can't fight both of you.  Then stop fighting and running away, urges Barnabas--that's why your bags were packed, you were running away? Yes, she admits. I know how frightened you are, he says, but you must know I would never do anything to harm you. She looks at the portrait and asks, can you say as much for her?--no, you can't, because you know both of us can't live, and if I stay here, it will be as Josette duPres, a girl who died 100 years ago--that's why you've got to let me go! She runs past him, but he stops her and asks, do you want to go live amongst strangers, where no one will love you as either of the two women?--no, you must stay here and let me help you--"Will you marry me?" he asks.  Kitty's eyes grow huge.  Does the idea terrify you, too? he asks.  She considers a moment and says no, it doesn't, I understand somehow that it's what I must do, whoever I am. Then you will marry me? he asks. Yes, she says, as soon as possible. I'll arrange for the wedding this evening, he says, overjoyed. Yes, Kitty agrees eagerly. Wait until I return, he says. I'm afraid, says Kitty.  No harm will come to you, he assures her. I hope not, says Kitty. He squeezes her hands, then leaves his bride to be. Kitty looks very uncertain.

Trask gazes at his last remaining, guttering candle, knowing it will soon go out, soon be dark--I don't want to be alone in the dark!  Come to me, Minerva, he begs--I can't come to you, I don't know how--I have no gun or rope, or knife, nothing, she took everything from me, Minerva! Judith phones him again, and he answers, sounding as if he's teetering on the edge of insanity.  "MINERVA??" Gregory, says Judith, do you miss me a great deal? I want to come to you, Minerva, he says. "And you can," she says, "all you have to do is look in the desk, the top right hand drawer-- there is something in it that's very valuable for you--go find it and do whatever you want with it--it's all yours!" She hangs up, as does he. He searches the desk and finds a gun tucked in the drawer. He looks at it...

Judith has found Kitty's bags on the floor in the foyer and wonders where she is.  I know where she is, Barnabas assures her--she will be all right--I pray--when she marries me. How can this be, what will Edward say? demands Judith. Barnabas, ashamed, says, it no longer concerns Edward--whether Kitty marries me or not, Edward has lost her. He'll be very upset, warns Judith, when he hears. That's why he must not know until we are married--this evening, says Barn. So quickly? asks Judith. Yes, says Barn, after the ceremony, we will come back and tell Edward, then leave Collinwood immediately--as much as Collinwood means much to both of us, I know we can no longer stay here.  Where will you go? asks Judith. (and WHEN?)  Wherever we go, promises Barn, neither you nor Edward will ever have to be concerned about us again.  This is incredible, says Judith--you just met Kitty! "  I feel as if I've known her forever," says Barnabas. Judith looks concerned.

Old House - Kitty wonders, why did I tell Barnabas I'd marry him--why, it's SHE he wants, not me!--I'm not her, and won't be her! She gazes at the portrait.  The music begins to play. He knows I won't be her, says Kitty, he understands, he's the only one who can understand, help me fight-- Barnabas, where are you, I need you!

Barnabas returns to the studio to find it deserted. Tate has left a note pinned to a burnt rafter. By the time you read this, I will be far from Collinsport--my work has not been going well here, and I suppose it's time to move on--find new scenes and new subjects. Sorry about Quentin's portrait, I know you'll understand. Barnabas angrily crumples the note and says, I understand, all right--Tate hated Quentin, and this is his revenge!

Judith phones Trask in the room, but, receiving no answer, smiles with satisfaction.In the room, Trask lies slumped in the chair, gun in his hand, the victim of a successful suicide.

Kitty paces Josette's room. Of course I'm upset, it's my wedding night, my marriage to a man who is little more than a stranger. How long have I known him, really? Where is he? Why doesn't he get back here, it's our wedding eve, the eve of my wedding, and look how I'm dressed--I must find something more suitable. She looks in the trunk at the foot of the bed, finding a sheer white dress. This will do, she decides. NO! she cries, holding the dress against herself, "If I do what she wants done, this will make me Josette duPres forever!  I can't put it on, I can't!  She tosses the dress down and sits in a chair, calling to Barnabas--where are you, I need you!

Woods - Barnabas hears Kitty calling to him and begins to run.Kitty thinks to herself, I must hurry and get ready, he's on his way. She's put on the white gown she found. "What am I doing?" she asks herself, feeling the material--why did I change my dress, I know I mustn't!  She begins to drift into Josette's portrait, her body growing ethereal, ghostly. She's startled at what's happening. Barnabas enters the room just in time to see his fiancee meld into the portrait  Kitty! he cries, reaching for her hand, and she reaches out for his...

NOTES: So much happened in this ep! Wow! Trask bit the bullet (and how odd that he asked for his murdered wife to help him, and even thought Minerva was calling him on the phone; guess that proves there is a conscience in Trask, after all), literally, Tate screwed over Quentin, we wonder if Petofi/Blackwood is really alive or dead, Kitty breaks her engagement to Edward and accepts Barnabas, or is that Josette: Judith gets her revenge, Barnabas convinces Kitty to marry him, Quentin tells Amanda it's no go until he finds his portrait, and we never do learn what became of it--was it burned? Quentin isn't sure he won't turn into a werewolf, so rather than risk her life, he gives her up, to their sorrow. We never learn what happens to Charity or Magda, which always strikes me as unfair, but they do appear to avoid being part of the carnage.

Will Quentin become a werewolf?

Will Barnabas win his Josette clone?

What will the upcoming storyline bring?

After a brief foray into 1796, we will begin with the Leviathan storyline, which has its detractors and fans. Make up your own mind about it, folks, it's only fair!

Farewell, 1897!


885 - "Josette!" cries Barnabas, reaching for her hand.  Together, they fade into the portrait and disappear. We focus the portrait of Josette, then see Barnabas lying on the ground, dressed in his 18th century clothing. It's thundering and lightning. He calls to Kitty, then finds his cane lying next to him. He rises to his feet, still calling Kitty. Barnabas is shocked to see Ben standing there.  I'm back! declares Barnabas.  You haven't been anyplace, points out Ben.  Yes, I have, says Barn wonderingly, in another time--how is this possible?  Kitty! Where is Kitty? Ben knows no one by that name.  I must find her, insists Barnabas.  Maybe you had a bad dream, suggests Ben, I've been waiting for you a long time. Waiting for what? demands Barnabas. You must know, says Ben--you didn't forget what you were going to do tonight?--if you forgot, I ain't gonna tell ya, says Ben. You must, says Barnabas.  I saw you luring her (Josette) away from Collinwood, admits Ben--she was growing weaker, and last night after you left her at the Old House, she collapsed, and I found her there, muttering your name. I remember giving her a ring last night, says Barnabas. I have two coffins ready, says Ben.  Barnabas remembers--this is the night I was going to take her away with me. "Kill her, you mean," corrects Ben. Barnabas mourns, that night--must I live through it again? Change your mind, urges Ben, she doesn't know what you are--a vampire. Barnabas looks at him. "I had to say the word," says Ben--does she know yet what's going to be?  It won't happen as it did before, promises Barnabas. Confused, Ben says it ain't happened yet.  Barn says it has, but not again--we must find Josette. She's in her room at Collinwood, says Ben, they're watching her, especially now, after last night. But I regained consciousness in the woods, says a puzzled Barn--Kitty can be anywhere. You're scarin' me, talkin' that way, says Ben. I must go to Collinwood, says Barn. Are you out of your mind? asks Ben--what if your father or mother see you?--they will think you've risen from the dead.  Yes, they think I'm dead, remembers Barnabas--what will I do?  You aren't in any condition to do anything tonight, insists Ben. I must be, says Barnabas, feeling his way along his memories--I came to find you in the fishing shack. No, you never came, says Ben, that's why I'm here. I gave you orders to bring the carriage containing the coffins to the boat, recalls Barn, but Angelique came and locked you in the shack, determined to ruin my plans. You aren't making sense, says Ben. Go to Collinwood and make sure Josette is in her room, commands Barnabas--what time is it? Nearly 10, says Ben. If Kitty has become Josette, says Barn, she should be in her room, come back and report to me, then go to the shack, get Angelique, and bring her to Josette's room at the Old House. I can't do it, says Ben.  You must, says Barn--you've served me so well in the past, and must continue. Ben agrees--I have no choice--and leaves. "Kitty," moans Barnabas, "Kitty, where are you?"

Josette sleeps.  Her Aunt Natalie stands vigil close by. She lifts the clock--two more hours until this cursed day is over, this day the prophecy said Josette would die--I won't let it happen. If I could only understand what's been happening to her. Josette stirs and awakens, a smile hovering on her lips. Natalie sits on her bed and asks, "What's wrong?"  Josette says, I dreamed I was in another time. Natalie asks, what do you mean. It's not important, answers Josette, but I was dressed as no one else was, I was holding a dress, my dress.  Don't think of that, says Natalie. I was looking at my portrait, explains Josette--the portrait, it's as if it were alive, and makes no sense at all, but I felt as if I were the girl in the portrait--then I woke up here. Natalie's lip has been quivering as she listens.  Hearing footsteps, she goes to listen at the door, asking who it is. It's Ben--I came to see how Josette was. She's well and will stay that way, says Natalie defiantly, do not bother us, I want no one bothering us--I trust no one and won't until this night is over.  Ben looks at Josette.

Barnabas enters Josette's bedroom at the Old House and gazes up at her portrait. Angelique enters and says, "What an honor to be summoned by the great Barnabas Collins." (What is she doing alive, she was killed at Barnabas' own hand right after he awakened in his coffin? It was her ghost that wreaked the havoc, so this change of history makes no sense). What could we possibly have to say to one another? she asks.. I know what will happen tonight, says Barnabas--you will try to stop Josette and me--don't deny it. She smiles.  What else will I do?--I didn't know when I made you as you are, I gave you other powers as well. You will lure Josette to the cliff, try to stop us, says Barn. Why shouldn't I? she asks bitchily--you ruined everything for mer (he ruined everything for HER? I'd say that blame belongs on her many more times over.) I have changed, says Barn, I won't do what you think--make Josette as I am--I ask that you do nothing-- promise me, and I won't use the coffins--I swear to that.  Not tonight, but some other night, accuses Angelique. No, destroy the coffins, he urges-go ahead. You would have me do that? she asks--what are you planning now?  I only want to save Josette's life, he says. You really love her, don't you, asks Angelique, resigned. Too much to have her join me that way, he replies. I believe you, she says--how often I've wanted to hear you say that one word, love, and mean me. If you have any feeling left for me, other than hate, do this for me, begs Barnabas. And if I agree? She asks.I will be grateful, he says. That would be a change, she says ruefully, perhaps one I would like. Leave Josette alone tonight, asks Barnabas--stay with me here until midnight, and you will see I'm going to do nothing. No, she says, you will see that *I* am going to do nothing--I don't like your bargains. Angelique, PLEASE! he begs. Could we stop what will happen tonight? she asks. Yes, you can, says Barn, I know what you're going to do, you will lure her to Widows' Hill, I know it, and torment her with fears of what will happen to her if she goes with me--but this time it's not true--but nothing will change, it will make no difference, and Josette will throw herself from Widows' Hill. Angelique, beginning to fade away, tells him not to expect her to stop it--see if YOU can. Smiling, she disappears. Barnabas darts forward--"Angelique!" I must go to Widows' Hill, realizes Barnabas, stop Josette. He leaves the room.

Natalie looks out the window in Josette's room. How do you feel? she asks Josette.  Very relaxed, says Josette--the house seems much more quiet than usual this evening. It's not over yet, says Natalie, and I won't stop worrying until this night is over. It should be obvious that I'm perfectly safe, says Josette. Don't misunderstand, ma cherie, says Natalie, I'm very pleased that the prophecy hasn't been fulfilled--yet--there has been no disturbance in the house, there is a full moon, and I've seen no sign that you are despondent. With a laugh, Josette teases her aunt about still believing what she read in the book, a book supposedly written 200 years from now. It's told things as they happened, says Natalie worriedly, but one more hour and it will be midnight and you will be free from harm. I'm in no danger, insists Josette.  There's no way to know for certain, counters Natalie. I am certain, says Josette--it's difficult to explain, but I feel terribly secure, as if no power on earth can harm me. I don't understand your mood, says Natalie.  Nor do I, agrees Josette--it isn't necessary to understand it, just to accept it. Josette notices her ring is missing and becomes suddenly upset.  The ring! exclaims Natalie--the book said the prophecy would start when you noticed you were missing a ring. I must have lost it at the Old House, frets Josette, and starts to get up.  You must stay here, insists Natalie. Josette goes into her closet to get a cape, but Natalie takes it from her. I must find my ring, cries Josette, and you can't stop me. I must keep you here for your own protection, says Natalie. I want my ring, clamors Josette. Wait until after midnight, orders Natalie.  I must have my ring, says Josette--he expects me to have it--Barnabas. What are you talking about? asks Natalie. Josette refuses to tell her, taking her cape, she marches defiantly toward the door. They struggle as Natalie tries to stop her; a vase falls off a table and breaks.  The sound of glass shattering! says Natalie, horrified--it was in the prophecy and is coming true, little by little.What am I going to do? asks Josette. Stay here, says Natalie, if we can keep you alive until midnight...  Natalie gazes out the window and gasps--no moon!  There's the sound of a wind, and tinkling, as if from a wind chime. The house is filled with thumps and bumps; the door opens by itself. Josette screams.  Natalie tries to close it, but is unable. Josette offers to help.  No, says Natalie, I'm going for Riggs or another servant. When she leaves the room, the door slams shut, locking Josette in and Natalie out. Let me in, Josette! pleads Natalie--open the door!  The music box opens by itself as Natalie continues begging her niece to let her in.  Barnabas, calls Josette, you want me?  Open the door! Natalie begs, standing against it, sobbing.

Josette picks up the tinkling music box. Natalie continues to call to her from the other side of the door. "Barnabas!" says Josette.  Are you ready to leave? Barnabas' voice asks.  Yes, my darling, she says--where are you, why can't I see you? Who are you talking to? asks Natalie. "I'm waiting for you," says Barnabas' voice. I feel terribly guilty, she confesses--I lost the ring. I found the ring at the Old House, he assures her.  Josette smiles. Let me in! cries Natalie. I'm waiting for you, says Barnabas' voice--come to me, Josette!--come to me! Yes, she says, but where are you?-- tell me and I'll come to you. "I'll wait for you on Widows' Hill, says the voice--leave through the secret panel, Josette." She does as he tells her, his voice repeating, "Come to Widows' Hill." Natalie pounds on the door, finally deciding, I must get help.

Widows' Hill - It's storming violently.  Waves greedily lap at the shore. I've come to you, calls Josette, where are you? Angelique's voice fills the air with cruel laughter. The wind blows Josette's cape. Who's here? asks Josette. Don't worry, your precious Barnabas will be here soon, promises Angelique mockingly. Recognizing the voice, Josette asks, "Where are you?"  You won't be able to see me, says Angelique--I have come to warn you, you must not go away with Barnabas--he is evil!  Barnabas loves me protests Josette. He's going to kill you, warns Angelique, and after you're dead, he will bring you back to life, turn you into a bloodthirsty animal!  No! cries Josette, stop it!  Look out over the cliff, says Angelique, see yourself how you will be after you become his. I won't look! wails Josette.  You can't resists, says Ang--go on, Josette, look into the future--see how you will change! Josette views the horrible vision of herself as a vampire, mouth open, sharp fangs exposed, hair a mess, face cruel.  Take it away, begs Josette, please, I can't look at it, take it away.Keep looking, urges Ang, that's what he will do to you!  Take it away! begs Josette. There's the sound of approaching footsteps.  That's your love, Barnabas, Angelique tells Josette--your kind, gentle Barnabas, who will turn you into THAT creature, he's coming, Josette, coming to you--OPEN YOUR ARMS TO HIM! Josette backs closer to the cliff, nearly losing her footing. No, she cries, shaking her head wildly.

NOTES:  Here we have repeated, with some variations, one of DS' most frightening scenes.  This is the tale Barnabas tells Vicki and Carolyn in the darkened drawing room of Collinwood during a blackout, scaring them with the romantic, terrifying story.  What Angelique is doing alive at this point in the storyline is baffling.  It was her ghost that perpetrated everything that happened after her death, including the scene we just witnessed.  Will poor Josette die again?  Or will Barnabas succeed in changing history, and have the woman he always professed to love so much?

Great seeing old Ben again.  He sure was confused by THIS Barnabas' orders, wasn't he?

Can't wait to see what happens next!  These eps are so exciting!

Love, Robin

880 - Behind the wall, Trask cries desperately for help, banging fruitlessly on the brick wall, which won't budge. There's got to be a way, he tells himself. He checks the windows, but they've been bolted shut, too. He presses his ear to the brick wall and asks, who's out there? demanding an answer: "Judith, is it you? Have you repented this sin, Judith?  Answer me, whoever you are!"  No one answers him.

Trask listens, silent for a moment, and concludes no one is here, it's my imagination. Someone is bound to come--Quentin!--he must.

Quentin returns to Collinwood and hangs up his coat. He's about to head upstairs when Judith stops him and explains, I closed the west wing and had all your things moved to another bedroom--it was really getting expensive with only you in it. Quentin chuckles--I'm OK with it. What happened to Amanda's portrait? he asks.  I had it removed, says Judith--I found it no longer pleased me, as it's not the kind of picture you can live with very long--you will never see it again, swears Judith--I destroyed it. I think something is happening around here, opines Q--what? I might as well tell you, says Judith--two men tried to kill me tonight, perhaps the same ones who killed Evan. I heard about that in town, says Q.  Judith observes, you aren't mourning for Evan--would you mourn for me?--no, I don't think so, you and Edward would have shown little sorrow. Well, your husband would have made up for us, says Q, at the surface, anyway. Gregory is gone, too, she says--he rushed out after the two men and never returned--it's been over two hours and the police can't find him--I fear those two men did something terrible to him. If so, says Q, you are to be congratulated. "I might have known that would be your attitude," chides Judith. I'll go search for Trask, offers Quentin, if you're sure you want it--wouldn't your life be far less complicated if you just forget about your husband? "I will NEVER forget him," says Judith defiantly. Then, says Q, I will do you the favor of searching for him. He starts going upstairs, remarking, I'm sure the servants missed something in my room. Judith pursues him--you can't go up there, she insists--I had the lock changed. To the door of the west wing? he asks, incredulous--"Give me the key."  I don't want anyone ever going to the west wing again, says Judith--I'm mistress of the house and you will obey my orders. He smiles crookedly, wondering what she's up to.

Trask, looking rather disheveled, wonders, what in the room might get me out?  He walks around--ah, Quentin had a telephone! He searches for the cord and finds it in the roll-top desk. He takes out the phone and tries reaching the operator, but hears nothing but static.  He calls "OPERATOR!" fruitlessly over and over. She planned it this way, he realizes, how dare she! I will get out of this room, I swear, and then I will kill her himself!

Cemetery - Aristede continues to flee Garth Blackwood, his relentless pursuer. Quentin, searching for Trask, exits the family mausoleum.  Aristede calls to him. Quentin holds up his lantern, and is surprised to see Aristede. I know you have no reason to help me, says Aristede, but it's your fault this all happened; it started when you sent me to kill Petofi. Quentin laughs at him. Please help me, pleads Aristede--Trask was going to help me but the carriage he promised wasn't awaiting me--nor was Trask--Blackwood will kill me, cries Aristede, he's a devil straight from hell! "Whoever he is, I wish him luck, Aristede," says Quentin cruelly. Blackwood has spotted the pair and peers at them through the gate. Hearing the chain, Aristede says, "My God, he's here!" and takes off. Quentin grabs him and tries to hold him there.   (we see a tombstone that says CAROLYN COLLINS STODDARD) The men grapple.  Aristede gets away and leaves Quentin to Blackwood, who slings his chain around Quentin's throat and begins to strangle him.

"What did the prisoner want?" demands Blackwood. Help, squeaks out Quentin. He was your friend, accuses Blackwood.  Quentin assures him this isn't so--you saw me trying to stop him, didn't you, trying to hold him here? Appeased, Garth releases him--you did well, he says--he who aids and abets the prisoner must die. Blackwood, hitting everything in his path with the chain, leaves.

Trask hears hammering going on outside the window.  He tells that person, if you go for the police, I will give you anything you want--thousands of dollars. The hammering stops.  Come back! Trask screams, banging on the windows. The phone rings.  Trask rushes to answer. It's Judith, who doesn't answer him as he yells, "I'm Gregory Trask!"  She hangs up on him without saying a word. When she calls back seconds later, he begs for help, explaining, I'm trapped in this room at Collinwood--whoever you are go for the police.  This time, Judith speaks to him--I didn't know you were such an optimist. Judith, he says, surprised. Who else? she asks, I'm the only one who knows how to reach you. For God's sake, he begs.Are you enjoying your retreat? asks Judith.  You must let me out! he insists, desperate.  How familiar that sounds, she says, I used to say it every day at the sanitarium, but they wouldn't listen to me--you arranged that--so now I don't have to listen to you! You must, he wails, this isn't like you! Perhaps you never took the trouble to get to know me, she suggests. You're a Christian woman, he says. I'm only doing my duty, says Judith, given that you're so fond of meditating, and now you can do it under ideal circumstances. Someone will come! he shouts--someone will let me out!  I don't see how that is possible, says Judith--I've closed the west wing--forever!  What? he demands. You were saying only the other evening, she reminds him, how you wanted to spend the rest of your life in this house--now that's possible--"I've arranged it."   "Judith," says Trask, "if ever you felt any love for me..." You will not get out of that room, she promises--"You see, I knew about the death you intended for me...goodnight, Gregory." He cries out her name, but she's already hung up.  Trask hangs up, too, and says, I cannot believe it, I cannot. He looks around the room, noting how dark it is. He takes a two-candle candelabra and lights it with his one candle. How many candles?--I must think of that--I will get no more. What will I do. He hears the door squeak.  The ghost of Beth appears.  "No, you're dead!" he gasps, terrified. "Quentin!" calls Beth. "Where is Quentin? Quentin, I must find you!" Yes, calls Trask--find Quentin, tell him I'm here, tell him...to come to this room, you can make him come, please! Beth fades away. Trask presses against the solid brick wall, freaking out with fear.

Quentin returns home, nursing his throat. He hears his music playing in the drawing room and goes in. Beth stands looking out the window. She steps down into his sight. He turns away from her and says, "I knew you'd come back!" When he turns back to face her, she is sobbing. "I didn' t mean for you to die, I didn't mean it!" he tells her. "I tried to tell you that I wasn't Petofi! Beth, can you ever rest?" "Not until..." says Beth."What?" he asks. "I'll do anything...anything." "Until you know," says Beth, "that I forgive you." And she disappears. "Come back!" screams Quentin--"Don't you understand, I don't forgive myself--for what I did to you--for the part I played--please hear me!"  He covers his face with his hands and sinks into a chair.

Aristede returns to the mill, wondering, will I be safe here until I think of what to do? He hears a sound.  A woman comes tearing out of the back room, threatening, "I'll kill you, I'll kill you!" She has a knife ready to plunge into Aristede, and he grapples with her.

Aristede wrests the knife from the girl's hand and takes it into his own. I have a new enemy, he realizes, and tries to force her to turn around and face him. No, she says. He presses the knife against her throat; she spits in his face. That wasn't very smart, he says.  She proudly faces him--my name is Romano, she says. His widow, says Aristede. "King Johnny's wife!" she insists--"I will never be anything else!--I've come to carry out his curse!"  Against me? asks Aristede.  "And I'll do it!" she vows--"You will pay!"  "I will, or Count Petofi?" he asks. Both, she assures him. I was just his servant, protests Aristede--Petofi is your enemy. "You tell me that," she scoffs. If I give you Petofi, will you take the curse off me? he asks. Never, she says. If I travel with you, become one of you, prove myself to you? adds Aristede.  Why would you do this? she asks. Escape, says Aristede, I swear I can give you Petofi tonight, but you must promise to protect me from my enemies. Any member of my tribe would do that, she says, if we got the hand back. He's ill, very ill, says Aristede--he's wounded--I myself did it--it's one of the reasons I must get out of here. IF he's so very sick, she asks, where is he?--tell me!  As soon as you tell me you'll take me with you, insists Aristede. If you came with us, she says, you would have to change--you'd have to become one of us, forget everything Petofi taught you, learn to trust, because that's what we live by.I know that, says Aristede--all right, I agree--I'll prove I can be one of you--he's at the studio of an artist named Charles Tate--I'll draw you a map, show you how to get there--no, I'll take you there myself. No, she says, you talk too easily, words can cover up traps. Go yourself, he says, but it's no trap, I swear. He shows her how to get to Tate's house. Wait here, she orders, I will return. She leaves. Aristede is a nervous wreck.

Quentin sits brooding in the drawing room. Judith comes in--I thought I heard someone--go to bed. Yes, I know, he says, the green bedroom--aren't you going to ask me how my search for your husband came out? I assumed you found nothing, says Judith. You assume correctly, says Q--if a little too easily.  She looks at him--what does that mean? I don't know, for once, he says but I will find out--the question of your missing husband DOES interest me...  I don't know why he should, says Judith--when you were here, you constantly wanted him out of the house. I like all my stories to have endings, insists Quentin--the honorable Rev. Trask story--it is ended, isn't it?  No, not yet, says Judith.  Both of them wear the same half smiles. "Judith," asks Q, "did we ever confide in each other, perhaps when we were children?"  Judith admits, I was never given to confiding. Then it's probably too late for you to start now, says Q. Yes, agrees Judith.Wherever he is, says Quentin, I know you're happier for it. She looks at him, silent.

Trask ponders an eternity in this place--it's insupportable! There must be a way! Will no one ever come? He sits down. Will this room be my grave?

In the woods, Mrs. Johnny Romano has the misfortune to run into Garth Blackwood. What do you want? she asks.  You were helping the prisoner, he accuses.  You're crazy, she says--I don't know any prisoners. How do you plead to the charge? asks Garth--I pronounce you guilty, since you gave him refuge. Get out of my way, she orders. By the power invested in me, I give you the same punishment the prisoner must endure!  He loops the chain around her throat and strangles her as she struggles and screams.

Aristede searches through a drawer and finds some money. He is counting it when someone enters the mill--Blackwood, who orders, "Surrender, prisoner!"  He chases Aristede around the small room, ordering, surrender, face justice, there is no other way. It's a short battle, as Garth Blackwood metes out capital punishment to Aristede.

NOTES: We've had a lot of deaths in the past few episodes. Poor Mrs. Romano, she seemed like such a fun, murderous character, too, but a bullseye nevertheless!

Love the way Trask is slowly going crazy as a result of Judith's little plot. Quentin seems to know she's done something, but he is just letting her get away with it, because he apparently applauds it. Good for them both. This is one brother sister team that will never win awards for sibling closeness, but they certainly agree on the matter of Trask.

Beth's asking Quentin to forgive her always brings tears to my eyes. So sad. She was the victim yet she's asking for his forgiveness? Even her ghost is a doormat, poor thing. Still, it was a very poignant, sad scene. I was also glad she threw a nibble of hope and fear into Trask.

Judith is so good here. I love her deviousness and cruelty. It couldn't be happening to a more deserving fellow than Trask, and she's having so much fun with it, calling him and taunting him. An eye for an eye, and Judith is getting hers!

Will Aristede die, too? I wasn't sure about Evan, but he's dead, so...

Missing Barnabas, of course, but that's always the way with me.

1897 is rapidly winding down.


881 - In a re-working of yesterday's ending, Aristede drops the money he's counting when Garth lurches downstairs and orders him to face death. He loops the chain around Aristede's throat, shouting, "Justice must be done!"

Aristede struggles against the chain encircling his throat, begging Garth, let me speak!  Blackwood insists--there's nothing you can say to save your life.  Aristede offers to save Blackwood's existence--"You were brought here to kill me, but once you've done that, those who brought you will have no use for you--they will destroy you."I will do the destroying, asserts Blacwood, after I deals with YOU, for insubordination, conspiracy, jailbreak and the murder of Garth Blackwood. Tate, arriving at the mill, overhears Aristede's final scream, and Garth proclaiming, The prisoner is executed!" Wisely, Tate thinks twice about going in. Blackwood comes upstairs and Charles, standing in the doorway, opts to flee.  Blackwood leaves the mill. Tate waits until he's gone, then enters the mill himself. Aristede lies on the floor. Tate kneels to look him over--he's dead, exactly as Petofi said he would be.

Back at the studio, Petofi pours himself a drink. To Aristede, he toasts--Charles, we spent many pleasant hours together, but in the final test, he proved disloyal. He didn't look so pleasant lying on the floor in the mill, says Charles coldly. Death seldom shows us at our best, says Petofi--you shouldn't upset yourself over Aristede. Aristede wasn't Garth's only victim, says Charles--on his way back here, he stumbled on the body of a woman. Whatever she did to anger the Master of Dartmoor, says Petofi, she won't do it again. You look so self-satisfied, says Charles, but then you don't know who the woman was. Why should I care? asks P. The woman was a gypsy! cries Tate, right in Petofi's face.  This catches the old man's attention--where did you see her? Close to here, says Tate. She must have known I was here, says Petofi, thanks to Aristede--his last act of betrayal--I must hurry, I have no time to lose. He stands but nearly passes out.  Tate warns him against going anywhere. My psychic powers are as weak as this body, says Petofi, I won't he able to go anywhere, but I must escape them--I must and will, I, Petofi, can do anything, and I must go to the future now--I'm going as Quentin, that is how I'll go, he vows. He has his own body back, Tate reminds him.  I have mine back, too, says Petofi--and the power of the hand as well--when one loses an engagement, one doesn't surrender, one fights harder to win the next--I must act now, there are many reasons for me to go to the future, but not one to stay here. Garth Blackwood, Tate reminds him. He's done what I wished him to do, says Petofi, he doesn't matter anymore. Yes, he does, says Tate, you brought him from the depths of hell and must see that he goes back there. Why should I take the time to do that? asks Petofi. Besides the woman and Aristede, Blackwood strangled Evan Hanley, Tate reminds him. I don't care about Hanley, says Petofi--he sought death in the dark corners of the mind--and now he found it. (Such a cold man, reminds me of Goldfinger!) Tomorrow, he'll strangle others, warns Tate--the man is a maniac. And no concern of mine, says Petofi--tomorrow I will be 72 years in the future, in 1969!  What about me? asks Tate. What about you? asks Petofi.  After you have gone, he might come after me, retorts Charles--what should I do? Lock your doors and windows, advises Petofi, I haven't time for these arguments, and in the final accounting, you are of no importance, neither is Quentin Collins, nor is anyone whose path may cross that of Blackwood--only I am important, and I'm going to the future--the rest of you may fend for yourselves! The door opens--it's a glaring Blackwood. You are both my prisoners, he announces, and the penalty is DEATH!

Blackwood wraps his chain around Charles' throat.  Petofi uses his magic hand to force him to release Tate. Charles backed away, grateful the hand worked. There is something in this demon that resists me, says Petofi--I don't know how long the hand will work. Remembering that Tate shot his other creation, Petofi, still holding the creature at bay, orders, get your gun--quickly, I doesn't know how much longer I can do this!  No longer, announces Garth, advancing on Petofi--you can obstruct justice no longer! Charles presses the trigger several times, and finally succeeds in pumping two bullets into Blackwood, who falls to the floor. Charles whispers, "He didn't disintegrate!" Get some rope and tie him up, orders Petofi--and hurry! Tate does as ordered, and as he binds Blackwood, the Dartmoor master keeps giving him the evil eye. Don't be afraid of him, he can't hurt you now, says Petofi.  "You have shot the Master of Dartmoor!" cries Garth. "You have committed the ultimate crime, the penalty for that is certain death!" He isn't dead, says Charles, just unconscious. I am going to begin my trance, says Petofi--you can wait and watch Blackwood die--soon you'll be rid of him, as you wanted, says Petofi. I don't want to stay, protests Tate, but relents and says I'll do it. Petofi goes into another room while Tate sits on the sofa, staring at the trussed-up body of Garth Blackwood. As Charles walks around the body, Blackwood suddenly returns to consciousness, shouting and adjusting his hat. Charles calls to Petofi, who comes out. Garth takes his chain and weakly slams it down against a chair and says, I can't kill you now, much as I'd like to, but this is only a stay of execution, you are sentenced to die, and I will carry it out, later.He lurches off into the night. I wonder how he broke loose from the rope? Says Tate. With his last burst of strength, guesses Petofi--dying now, no doubt about it.

Drawing room - Quentin, exhausted, glances through a family album. I have so much to do before I leave Collinwood, he thinks--I must keep going, no matter how tired I am. Charity enters.  Her tone nasty, she says, I'm sorry, I didn't know the room was occupied. She turns back and realizes its really IS Quentin. I'm so happy you're all right, she bubbles--you beat Petofi at his own vile game. I won't really be free of him until I leave Collinwood, he says. She's upset to hear he's leaving, but agrees he must--Petofi isn't done with you, and won't be until you go where you can't be found.  I'm taking the early train tomorrow, he says, and will be in New York shortly thereafter. I suppose you won't be coming back here anymore, she murmurs, her feelings for him clearly evident. Not for a long, long time, he says. By then, laments Charity, I won't be as pretty as I am now--everyone changes, grows older--I wish you didn't have to go. I have to, he says.  I know, says Charity--you can't always get your wish in this life--I wish we could fall in love like some ordinary Mary and Jim and get married and settle down, with little nippers of our own. (awww!)  To tell the honest truth, adds Charity, I still wish that--I'd have given up my career for you. He smiles gently at her and says, I'd never ask you to do that. Of course you wouldn't, she says, so you'll just have to go without me. She looks at the trunk--what's that all about? she asks. My history, he says--letters, pictures, papers I was going through to see if there was anything worth taking. She notes how tired he looks.  I haven't hasn't slept for a couple of nights, he admits. Go to bed now, she advises--worry about this in the morning. No, I must keep going, he insists. He shows her a photo of himself, age 10--before I knew what life was all about. You were a love, she says--can I keep it?--I'll give you a picture of me to take along, if you'd like it, it's really quite nice. I'd like that, he says. Some people might think it a bit racy, she says, but you just tell 'em that's Pansy Faye, she was part of my history, too, and don't you forget that, Luv.He smiles at her. (This is such a sweet scene, it really gets to me. She is so in love with him, and he knows it, but he's just being gentle and kind, brotherly, and it's a nice side of Quentin.)

I'm beginning my concentration, Charles, says Petofi, and when I'm in a deep trance, you can leave me--I don't know how long the trance will last, it depends on Quentin playing his part, too--as long as he remains in control of his own mind, I can't recapture his body, but the moment he sleeps, and his mind relaxes its vigil, his body is mine again--Quentin's part is very simple, and inevitable.

Back at Collinwood, Quentin is drowsy, very close to dropping off to sleep.

Sitting at a table in main room of the studio, Petofi concentrates.

The picture is apparently all I'm getting from you, teases Charity, so I might as well go to bed.  I feel strange, says Quentin.  What's the matter? She asks.  Staying up two nights, a person begins to feel it, he says. Are you sure that's all it is? she asks--maybe you should go to bed now and finish this up in the morning. I have to get my life in order now, he says. Take a little nap, have some brandy, she suggests. I will, he says--go upstairs and let me finish. He stands and asks, do you mind my coming up to say goodbye before I leave?  I wouldn't mind at all, she assures him--good night. "Good night, Pansy," he replies. He pours a drink and puts on his jacket, then sits down, drinking, by the fireplace.

Petofi concentrates, working on successfully performing the body exchange trick again.  In her room, Charity, lying in bed, thinks to herself, he's really going--nothing will stop him now, no one. It abruptly hits her--someone IS going to stop him, if he can have his way, someone--who is it?--I've got to see what's happening to him!She sees a vision of Q's hand holding a glass, which drops from his hand to the floor as he falls asleep. Quentin's music plays. Tate enters and Quentin wakes up and says, "Charles, it's done, exactly as I said it would be! The minute Quentin Collins fell asleep--did you bring the wands?" Charles hands him the wands, and PIQB says, the minute I throw them, I'll be starting toward the future--the brief taste of it I had only whetted my appetite--and now I am voracious for the future! You can't do it here, at Collinwood, objects Tate.  I can, says PIQB, and when they awaken, body will be gone for all time! It might be dangerous, warns Tate.  I am determined to it right here, insists Petofi--no more time to lose. The vision disappears.  Charity realizes there really IS no time to lose--the minute Quentin falls asleep, Petofi will have him--forever!  Horrified, Charity slides out of bed and goes down to the drawing room, where Quentin is drinking his brandy. Mustn't sleep, he tells himself drowsily--too much to do before I leave, but maybe...just for a minute...  The glass begins to fall, as in Charity/Pansy's vision.

NOTES:  Oh, no, will Petofi take over Quentin's body again, and this time succeed in kidnapping it to the future?  Or will Charity get down there in time to prevent it from happening, now that she's seen a complete vision of what is to take place?

I so loved the scene between Charity/Pansy and Quentin.  They do make a nice looking couple, but he's never even thought of her romantically.  And perhaps she only feels the way she does because of her feelings for Carl.

Isn't this thrilling?

Love, Robin

876 - Quentin tries to grab Beth away from the edge of the cliff, but, the terrified woman, still thinking he's Petofi, screams, "Get away from me!" She draws back and ends up tumbling over the edge.Quentin covers his face, cries out her name, and blindly stumbles away from the scene of the tragedy.

Collinwood - Barnabas closes the window and wonders why didn't I hear anything?--if anything went wrong--if the switch were successful, he'd have been back here by now--I should have stayed closer to the mill...Quentin enters, dragging his feet, and joins his cousin in the drawing room.  "Good evening...Quentin," greets Barnabas hesitantly. "You have no idea which one I am, have you?" asks Quentin.  Barn says "I don't know what you mean." It's all right, says Q softly,  Petofi and I are back in our rightful bodies--it worked, just as you said it would, it's no trick, I'm telling the truth. Quentin pours himself a drink.  You aren't very ecstatic about it, Barnabas observes.  Beth is dead, says Quentin. This stuns Barnabas--"Oh, no!--How?"   When the exchange of minds was complete, I was in the woods, explains Q, and heard something moving behind me--I found Beth on Widows' Hill--she thought I was Petofi--I tried to tell her I wasn't, but she feared me, and kept moving away from me, lost her footing and went over the edge. "I'm sorry, Quentin," says Barnabas (and sincerely, because he's been there himself). "Does every life I touch end in tragedy?" demands Quentin bitterly. You aren't responsible for Beth's death, says Barn--Petofi is. Quentin drinks, agreeing, and says, "Poor Beth."  You shouldn't think about it anymore; urges Barnabas there's no way to change what's happened (callous, Barn!), you must think of your own safety. I have what I always wanted, says Q--my own identity.  How long will you keep it if you stay here? asks Barn--Petofi is certain to make another move soon, and you will be as defenseless as you were before--unless you leave Collinwood now. Where am I going? asks Q.  I don't know, says Barnabas, but you must get as far away from Petofi as possible. They haven't found my portrait, says Quentin, and I can't leave without it. "You have no time to look for your portrait!" insists Barnabas. That portrait is my only security, says Q, if something happens to it, the werewolf curse will be back on me, and I won't go anywhere dreading any full moons! We'll make one last attempt to find the portrait, agrees Barn, but tomorrow you must leave--I remember the night it was taken--Tate was in the house, perhaps he took it.If he's got it, he won't admit it, says Q. Nevertheless, Barn says, it's worth a visit to his studio.

Quentin's portrait sits on an easel in Tate's studio. He wonders how and why it changed, as if it had a life of its own. Why? What powers did Petofi give it? Makes no difference now, as long as I have it, the body of Quentin Collins is in my power, and I bargain with Petofi! Hearing a knock, he hides the painting, then answers. It's Aristede, covered with filth, asking for food and rest--just for a little while! He sinks down into a chair. You don't have much of a memory, Tate reminds him.  Tiredly, Aristede begs, don't be cruel; you wouldn't want to be living as I have for the past week. I haven't been living a life of luxury this past week, either, to Petofi, says Tate. At least you haven't had to live in constant fear, Aristede, of the vampire. What vampire? asks Charles. I know he's dead, says Aristede, I saw him with a stake through his heart, but he came to life somehow--I saw him, and he was going to kill me! Tate is confused. I remembered the vow Barnabas made that he'd kill me, babbles Aristede, and I ran away, out in the woods for a week without food, afraid to sleep at night, knowing he was after me. Tate, amused, says, you're like a little child afraid of the dark, and he laughs--you're such an idiot, Aristede--if you really were roaming the woods, you did so for nothing--because the Barnabas you saw is not a vampire! Aristede is stunned.  Tate laughs at him some more.

You're lying! Aristede accuses.  I've seen Barnabas during the day, says Tate. This news further shocks Aristede.  You can go see for yourelf, says Tate--Barnabas is living at Collinwood. I don't understand, says Aristede.  Neither do I, says Charles--I only know what I've been told--according to witnesses, Barnabas that's staying at Collinwood isn't the same man as the one staked in the coffin. Incredible, says Aristede, how could two men look so much alike? You needn't be fearful anymore, says Tate--you can go back to Petofi, or Quentin. Have you seen His Excellency? asks Aristede--he must be angry about the way I ran away, isn't he? You're wasting your time, says Tate--you can go grovel at the feet of your master--maybe he'll take you back--then again, maybe he won't!  Afraid, Aristede asks--you go see Petofi and tell him I'm back, explain why I ran away--once you explain why, I'm sure he'll understand. Then why not explain yourself? asks Tate. I can't face him, protests Aristede--please do me this favor, you won't regret it. I have my own problems, says Tate--I'll see to it you're fed and get some nice clothes--and you do need all that--but as far as getting you together with Petofi and making things up, I draw the line.  Tate opens his door--good night, Aristede.

Quentin goes to Widows' Hill. The ocean beats against the shore noisily, the wind blows. He stands looking down, hearing again his last terrible conversation with Beth, when she accused him of being Petofi, telling him. I hate uoi!", ordering him, don't touch me!--hearing her final scream as she went over. Quentin cries out miserably and covers his face, then says, "I don't know what to say--forgive me, Beth, wherever you are."  (who thinks this is too little, too late?)

Tate paints over Quentin's portrait with white paint. Hearing another knock, he hastily finishes covering the portrait. It's Barnabas. This is an unusual surprise, says Tate.  I want to buy a painting, offers Barnabas.  It's a strange hour to be doing that, opines Charles. It's a strange painting I'm after, says Barn. Which one? asks Charles.The portrait of Quentin, answers Barnabas. That's at Collinwood, says Charles. No, it's not, says Barn--it was stolen from Quentin's room the other evening.  "Are you suggesting that I stole it?" asks Tate. Do you have it? asks Barn. No, says Tate, I don't (and he gets right into Barnabas' face as if having a staring contest)--what would I want with a portrait of Quentin? You haven't answered my question, says Barn. Tate drops his eyes first and says, I told you--I don't have it--now let me ask you a question--what is your interest in this painting? I have no interest, says Barn, I'm here on behalf of Quentin. I see, says Tate, Quentin thinks I stole it, doesn't he? You were at the house the other evening, when it was stolen, says Barnabas--Quentin thinks you have good reason for taking it. He may think that, but I don't, says Tate, no good reason at all--search my studio--if you do find the portrait, you're welcome to it.

Collinwood - Quentin returns home.  Aristede appears from the bushes and announces to "his Excellency", I'm back. Yes, I see, go on back from wherever you came from, says Q, I don't want anything to do with you. Aristede begs--please let me explain, I was sure the vampire was back. Get out! orders Q. Please don't send me away, pleads Aristede, pathetic--give me one more chance, I know what a fool I've been, I should have known you'd protect me, but I was terrified--please, I swear it will never happen again, I'll be loyal and obedient, me something to do, anything, please, don't send me away. Quentin thinks it over, realizing Aristede still thinks he's Petofi.  He suggests, there is something you might do for me--and he invites him inside.

Drawing room - Quentin says (calling him "my boy"), I'm not sure you're the man for this task, but I'm willing to take a chance.  Grateful, Aristede says it's all I ask--you won't regret it. I hope I don't, says Quentin, I'm very tired of your blunders, Aristede--let me give you fair warning--if you fail this time, it will be your last failure. I won't fail, promises Aristede. There have been some changes while you were away, says Quentin--my plans are somewhat altered--I've decided I no longer have any use for my old body. I though you wanted to fool the gypsies with your old body, says Aristede.  I still do, says Q--I intend for the gypsies to find a dead body--that way will be convinced they found the real Count Petofi, and matters will be closed. Aristede smiles and says, dead men tell no tales. Precisely, says Q--find the so-called Count Petofi and kill him tonight. It will be done, vows Aristede. And quickly, adds Q, and if it isn't, don't bother coming back here, Aristede--"I'll find you!"  Aristede bows and leaves. Quentin grins.  (what a GREAT idea!)

Petofi shows up at Tate's studio. Charles, drinking, says I'd appreciate you knocking before you come in. Is that any way to greet an important visitor? asks Petofi. You're neither invited nor welcome, says Charles. That will change, says Petofi, when you learn what has happened and going to happen--I've been considering your request that I restore your talent, since you cooperated with me by showing me the way to the future, I've decided you redeemed yourself completely, and shall be a great painter again. Tate, furious, says, I'm in no mood for your nonsense; I know who you are and that you don't have the power to restore my talent. Petofi says, there are times you are almost as imperceptive as Aristede--you're quite unable to distinguish between what is real and what is not--but two minds have reverted back to their original bodies--I am Petofi and Quentin is Quentin, an unfortunate but I assure you, temporary setback for me. You're trying to trick me, accuses Tate. You don't even understand when I'm trying to help you, chides Petofi--this will make you believe me--and he takes Tate's hand in his and says, you're beginning to feel different, like THE Charles Delaware Tate again, right--and so you are, my boy, so you are. Tate feels the power coming back to his hand and is thrilled--I have the gift again! Do you believe me now? asks Petofi. Yes, says Charles, exultant. This time, says Petofi, there will be no deviation from your loyalty, I demand your total allegiance and the rendering of your services upon request--is that understood? Yes, says Charles, smiling. We should drink on it, says Petofi--I prefer brandy. Tate hurries to the back room to get him the booze he requested. Petofi examines a painting. Aristede gazes through the window and, knife in hand, enters the unlocked studio. He creeps up behind Petofi, knife raised.Petofi sees him, but too late--Aristede has already stabbed him. Petofi falls heavily to the floor, dropping the painting he was examining.

NOTES: Bravo, Quentin, turning the mind/body switch against your enemy so smoothly, and despite your grief. There are those who argue that Beth was Quentin's true love, but he treated her shabbily, and she ended up dying even though he survived this time period. She killed herself for him in the original timeline, after killing him, so she was apparently doomed to die either way. She never would have been happy with him, unless he changed, and one suspects it took decades for that to happen.

Barnabas expected Quentin to get over his sorrow over Beth's death rather quickly (given how long his for Josette lingered!), but then again, he's worried for Quentin's safety and figures he should get the hell out of Dodge (Collinsport) and nurse his grief in a safer place than where Petofi is. Barnabas could have been more understanding, but he's panicking, and when Barn panics, everything else gets thrown out the window. The scene on Widows' Hill where Quentin asks for Beth's forgiveness was very touching, but I still feel it was too little, too late.

Poor Aristede, afraid of a vampire that didn't even exist all this time! And now he's been sent to kill his real master, and has succeeded in stabbing Petofi. What will happen to the latter, and his fearful lackey, once he learns what he did? And Charles, who went to get the brandy, knows the truth.


877 - Aristede does the intro.

Quentin drinks, and smiles, joyously considering the plot he set in motion by sending Aristede, who still thinks the personalities are reversed, to kill Petofi.

Aristede laughs as Petofi rolls on the floor, a knife sticking from his chest."Aristede, you will pay for this!" grunts Petofi. Charles comes in.  You idiot! he calls Aristede--don't you see what you've done?  Charles kneels down to check Petofi. I merely carried out orders, insists Aristede--His Excellency has no further use for that body. HE'S Petofi! Charles informs him, and you could have killed him!  Is he dead? Aristede. There's still a pulse, says Charles.  Obviously, you don't know what happened between Petofi and Quentin, says Aristede. No, says Tate, YOU are the one who doesn't know--their minds were switched back earlier this evening--"You stabbed the real Petofi." This isn't a very funny joke, says Aristede, going pale. No joke, says Tate--Petofi came here to restore my power. Impossible, gulps Aristede. If he dies, my talent dies with him, says Charles, upset.  Aristede, panicking, says, Quentin tricked me--I didn't know about the switch, I swear I didn't! You better hope he dies, says Tate, because if he doesn't, your life isn't worth anything. I didn't realize Quentin tricked me, says Aristede--I thought he was following orders, believe that--and if he lives, make HIM believe that--I'm going to find and kill Quentin for what he's done. He leaves the studio. Petofi comes to.  Aristede is gone, says Charles--don't worry about him, take it easy--I'm going for a doctor. Forget a doctor, says Petofi, where did Aristede go?--I must find out why he did it. Don't move, urges Tate--Aristedesaid  he was tricked by Quentin. Petofi gasps, I can't believe that! He's going to kill Quentin, reveals Tate. No, he must be stopped! yells Petofi, trying to get up. Don't move, says Charles. No harm must come to Quentin, says Petofi, I have my reasons--go, find Aristede and stop him!

Aristede stands at the drawing room window, looking in at Quentin, who's having a drink. Q puts back an empty decanter and takes a fuller one, then goes to answer the door. It's Aristede, who tells "His Excellency", you seem surprised to see me--you didn't think I'd fail, did you? I didn't expect to see him back so soon, says Q. Just a matter of finding the victim, boasts Aristede, the rest was easy--I found and stabbed Petofi--he'll be dead very soon. You should have stayed until he was dead, says Q, affecting a Petofi attitude. Believe me, he won't survive this, Aristede assures him--shall we have a drink to celebrate our victory?  Quentin pours the drinks, his back to Aristede.  The latter observes the swords hanging on the wall.  Quentin babbles about "a suitable reward" for you.  I already know what I want, says Aristede. He pulls out a sword from the display on the wall and points it at Quentin: "Your life, Quentin Collins!" shouts Aristede.  Just what do you think you're going to do? demands Q, backing away from the sword point. I know what happened this evening, says Aristede--I know you're Quentin again, and tried to trick me, but you're going to pay--Aristede--laughs--"Yes, you'll pay."Charles, gun in hand, enters the drawing room.  Put down the sword! he orders. Are you crazy, Tate? asks Aristede--get out of here and let me do what has to be done. The tip of the sword wavers near Quentin's throat. Put down the sword, orders Tate--if you don't, I'm going to blow your head off.

Aristede finally drops the sword to his side. Quentin is relieved.  Quentin can't be allowed to live after what he did, insists Aristede--you don't know what you're doing, Tate. Following orders, replies Charles. Is His Excellency going to live? asks Aristede. Go find out for yourself, suggests Tate. I can't, says Aristede, I'm afraid.  And with good reason, says Charles--"Go, get out!" Aristede drops the sword to the floor and flees. Quentin asks, "So, Petofi isn't dead?" You made a mistake sending Aristede to kill Petofi," says Tate. Q, returning the sword to the wall, says, I thought one of them would die, I didn't especially care which.  You're really lucky to be alive, says Tate. I know why Petofi sent you here to save me, says Quentin, and I don't consider myself so lucky at all.

Petofi, lying on the sofa in the studio with the infamous traveling afghan thrown over him, has a dream: We see the woods, hear dogs barking. Aristede, clothing torn, is crawling away from someone pursuing him. It's foggy; he's leaping from rock to rock, to finally fall, exhausted, to the ground. Petofi comes upon him.  Aristede takes out a knife, orders--don't come near--I'll kill you! Will you? asks Petofi--put away the ridiculous knife, I have no intention of harming you, or turning you in--I've been watching you a long time, says Petofi  (Aristede looks so young!) Watching me? asks Aristede. You're running about in circles, says Petofi.  I don't know this  area, admits Aristede, or what I'm doing or where I'm going. Under the circumstances, won't last much longer, will you? asks Petofi. Aristede puts the knife in his pants--I need food and a place to sleep, he says. Petofi offers him both, plus a decent suit of clothes, too. He introduces himself as Count Petofi--that's all you need to know about me for the moment. Aristede gives his name.  It has a ring of nobility about it, remarks Petofi--what was your crime?  I killed a man in Liverpool, over a disagreement, confesses Aristede. Do you usually kill people you disagree with? asks Petofi. Aristede, irritated, asks, how many questions are you going to ask me?  I have reasons for being interested in your background, says Petofi--how did you escape Dartmoor?  Did you ever know Garth Blackwood? asks Aristede. Yes, I well know the Master of Dartmoor, answers Petofi. Former master, amends Aristede--he's dead. How did you kill him? asks Petofi. How did you know I killed him? counters Aristede. By the way you said, "He's dead," says Petofi, smiling.  I wasn't the only one happy to see him dead, says Aristede, he was cruel and sadistic--he had a chain and enjoyed beating us with it--last month three prisoners died from Blackwood's beatings, and about a week ago, we all got together, drew lots, and I won the task of killing him--I heard him coming--he had a wooden leg that dragged when he walked, and always the sound of rattling chains, says Aristede, getting a little crazy at the recollection--I waited until he reached my cell--he intended to flog me with the chain--but when he raised his arm, I took out my knife,  hidden in my shirt, and stabbed him right through the heart!  And made good your escape, finishes Petofi--how fortunate for you. No, says Aristede, every night since I escaped, Blackwood's gotten closer to me. How, if he's dead? asks Petofi.  I don't know, but I hear the sound of that foot dragging and those chains rattling, getting louder, closer every night--I can't escape Blackwood. Hook up with me, suggests Petofi, for respectability, security, and a certain amount of adventure. Aristede hears the chains--he's coming! he cries, and turns to run. Petofi grabs him--don't run away! Aristede protests--he's getting closer!  The sounds you hear are in your own mind! Says Petofi--look into my eyes. Aristede does.  Blackwood is dead, except in your mind, you're being haunted by your own fear and conscience, explains Petofi. Aristede stares at him.  Petofi continues--dispel those sounds from your mind, cast them away, forever. He touches Aristede's face.  The sounds have stopped, says Aristede--Garth Blackwood is really dead. And he'll stay dead, promises Petofi, as long as you remain my faithful servant. Aristede drops to his knees like a man about to propose, takes Petofi's hand in his, and pledges his undying loyalty--I'm your most obedient servant!

Charles hands Petofi a drink just as he awakens muttering, "My most obedient servant." What about Aristede, Petofi asks--did you stop him? Yes, and told him to come here, says Tate--why do you want to be so lenient, why didn't you just let him kill him? Lenient, not at all, says Petofi,I shan't be that--Aristede's far too precious to die an ordinary death--he'll be haunted and tormented to his grave, and we will do that together--you will supply the talent and I the information--get your sketch pad and pencil--we are going to recreate the face of a man Aristede fears above all others--Garth Blackwood. I don't know who he is, says Charles.  Look into my eyes, bids Petofi, and you will see his face.  Tate opens his sketchpad and begins to draw. Who is this man? asks Charles.  Aristede's executioner, says Petofi. Does he really exist? asks Tate. He did once, says Petofi. He's dead? asks Charles. Yes, says Petofi, but we will bring him to life again.

Aristede looks through the window into the studio, then reluctantly enters the cottage. Yes, Charles, says Petofi, it's coming splendidly. Aristede, contrite, enters the studio. Do you want me to get rid of him? asks Tate. No, Charles, says Petofi, I think I know why Aristede has come--bring your work into the next room, and bring it back to me when it's finished. Charles does as ordered.  "So, Aristede, you've come back to face me." says Petofi, grinning. To beg forgiveness, says Aristede.  Close the door, dear boy, says Petofi, and come in. Aristede complies.  You must understand, pleads Aristede, it was a natural mistake, I had no way of knowing what happened. Aristede, poor, conscience-stricken Aristede, croons Petofi--you must not indulge in this orgy of recrimination, I do understand what happened. Aristede is grateful. One must admire Quentin's courage and ingenuity, says Petofi--of course you believed his story, why shouldn't you? Aristede, relieved, kneels beside Petofi and asks, are you going to be all right? Of course, Petofi assures him, quite all right--and I'm anxious to forgive you. Charles brings out the sketchpad with the finished drawing. Leave me alone with Aristede a few moments, says Petofi. Tate exits.  Charles has a wonderful talent, says Petofi--imagine sketching a person you never laid eyes upon in his life. You're forgiving me, right? asks Aristede. I think it wrong to dispatch a man with a heavy conscience, says Petofi. Dispatch? asks Aristede, not understanding (or not wanting to). Petofi turns the sketch around and shows it to Aristede--do you recognize it? Garth Blackwood, says Aristede, terrified--what are you going to do with that? There's something you don't know about Charles, says Petofi--even I discovered it only by accident--he has the curious ability to draw portraits that come to life.  Impossible, cries Aristede. I think it only fitting that you be reclaimed by the most relentless pursuer you've ever known, chortles Petofi--Garth Blackwood, and he shall take you with my blessings, my boy, he finishes coldly. You said you were willing to forgive me! protests Aristede--you can't do this, you don't mean it, it's not possible, a picture can't come to life, it's a trick to scare me, and I'm scared--I said it, please stop it! Aristede hears the sound of a dragging wooden leg and chains.  Stop him! he screams. "Goodbye, Aristede," grins Petofi. "I shall miss you!"

NOTES: So now we know how Aristede met Count Petofi--pretty interesting, huh? Does it surprise anyone that Aristede was in jail for murder?  Petofi really is one cold SOB, bringing back Aristede's torturing jailer to get rid of him.  I guess Petofi doesn't forgive any mistakes, at least not a big one like this.  Aristede is a coward, really, and Petofi knows it.  Will Blackwood kill Aristede?  Or will the former prisoner defeat him and beat Petofi?

Love, Robin

874 - The face in Quentin's portrait is really deteriorating, isn't it?

Mill - Hearing Josette's music playing, Kitty tells Petofi, I first came here in 1795 with my father and Aunt Natalie, to marry Barnabas, and brought my servant, Angelique, with me--that's why she frightened me so much--what is she doing here? She babbles on. Petofi gazes at the hand which wrought all this and comments, "Many inexplicable things are happening here tonight."  He moves to leave.  Kitty begs him--I must decide what to do!  Please wait here, he says, I'll return. I'm afraid to stay here knowing I am two people, possesses the memory of a woman who's dead, protests Kitty.

"How embarrassing this must be for you, Count Petofi," remarks Barnabas, clearly delighted. Quentin doesn't understand--you're not human--that's why the power didn't work, because of the supernatural trickery you and Angelique used to enable you to stand here. How fascinating, says Barn, smiling, that your celebrated hand does have its limitations. There are still ways to defeat you, says Q, and I'll find them--I had other powers before I acquired this hand, and I can still force you to bring me the portrait. Not until I find it myself, says Barn--I'm leaving you now, with much to think about. Quentin gazes after him with hatred, and at his hand with equal disgust.

Kitty asks herself, how can I return to Collinwood knowing part of me wants to see Barnabas? (which part?) That some part of me loves him?  Edward? What of my plans? Why did this have to happen, and how can I end it? She sees a letter opener lying on a table and takes it into her hand, intending to kill herself.  No, she admonishes herself, no.  She puts it down and leaves the mill.

Collinwood - We see Barnabas' portrait. Charity comes downstairs to a knock at the door-- Petofi, who brushes right past her, calling for Barnabas--is he here?--I must see him.  Charity looks at him in wonder, then drags him into the drawing room. Where is he? asks Petofi. I know who you are--you're Quentin! she cries. How did you know? he asks. I'm not, she says, but as soon as I saw the other one, I knew it wasn't Quentin--it's strange, looking at your eyes, seeing the real Quentin behind the glasses--oh, my poor love!  She hugs him and promises to do something--everyone will know, not just me. He warns her (calling her Pansy) not to do anything now. But Petofi is planning something, says Charity, I know--and he's a mean one. Something has happened, he says--don't tell anyone until I have a chance to talk to Barnabas--I'm so grateful, he says, that you realize who I am. Barnabas enters.  Petofi asks Charity, leave us. Come to me later, and explain, she asks.  I will, he promises. Barnabas closes the doors and tells QIPB, I have lost the portrait, but more importantly, he's lost the power of the hand. It's here, says Q, I don't understand it or feel different, but the power is here--Kitty came to see me at the mill--she wanted my help...

Kitty enters Josette's room at the Old House. Her room--my room? Is this where it's to end, she wonders. Look at my picture, bids the woman in the portrait. NO! cries Kitty, not yet!

So Lady Kitty knows now? asks Barnabas, glad to hear this news. Petofi nods.  "I must go and find her," says Barn, but QIPB stops him--what about Petofi? Hide in the rectory, advises Barn, it's just possible he may use some incantation to take the power away, don't let him see you.  QIPB holds out the hand and says, I'm certain this will help me.Possibly, agrees Barn, but the change of power might only be temporary, we can't tell--I can't go with you, I'm sorry, but I must go to Kitty--I fear for her, knowing what she knows, but as soon as I find her, I'll come back--beware of Petofi!

In Q's room, Beth asks, what's wrong? He's holding his hand in a limp, lifeless way. Nothing, he says, but she knows something is--let me help you!  You can't help me, he says, you brought me back from the future to face this, he accuses. Face what? she asks. Get out! he orders--now,  this instant--go! She leaves without a word. He's angry, wondering if the trip through time lost him his powers...it can't be gone, try again and see, on some mortal it worked on before--Charity Trask, whom I possessed with Pansy Faye--yes! He leaves the room.

Quentin hustles Charity into his room, fighting him every step of the way--I don't want to come in here!  He locks the door, warning her, don't cause me anymore trouble. I'll scream! She threatens.  It will be the last sound you ever make, he threatens. What do you want from me now? she demands.  I'm doing you a favor, he says.  She shakes her head--you don't do people favors!  He grins--I'm going to do both of us a favor--look at my hand!  She refuses. He commands her again; she turns and looks at it. Quentin didn't have evil in his hand, she says, but YOU do. Do you see evil in the hand? he asks. I know it's there, she replies. You're right, he says, I'm not Quentin. I know that! says Charity.  And you will forget that, he says--Charity. Don't call me that! she blares. I will return you to being Charity Trask, he says, holding the hand out towards her--the memory of Pansy Faye will be gone, you will not remember her voice or any of her memories, you will be as you were when you first came here to live, the minister's daughter, Charity Trask. He laughs--Pansy, begone from this body and back to the grave--I who called you here, made you rise, sends you back now, forever to rest in peace. He touches Charity's face...

Josette's room -  Do not despair or fight, Josette tells Kitty--no, I mean you no harm--"Let me live through you, Kitty!"

Quentin removes his hand from Charity's face and says, you she can leave now. "What are you trying to do to me?" she demands, the Cockney accent still in full sway. Q is horrified--it didn't work!--no, he gasps, no! It makes a girl feel all creepy having all that hocus pocus done to her,  complain Charity. It can't be, says Quentin, shaking his head--leave me alone, I'm going to the mill. He leaves. A puzzled Charity says, he seemed so different--again...  Beth comes in and asks her where Quentin is going--what's wrong with him? He's in the wrong body, answers Charity--how could you allow yourself to be so fooled?--not even know your own man--doesn't he seem different to you? He's just upset, says Beth defensively, that's all. Of course--Count Petofi is always upset when he doesn't get his own way, says Charity--the real Quentin would go off and have another brandy! Do you honestly believe, asks Beth, smiling, that the man who just left here is Count Petofi? I've got second sight, Beth, Charity reminds her--you'd better believe me! Beth frowns--I don't!  "There's a little temptation to, ain't there?" asks Charity.  No, says Beth, none--he's done some strange things recently, but that's the only reason I'd even consider it. Charity asks, do you want to find out, once and for all?--there's a way, and it just came to me--do you want to try it before you go on being fooled any longer?Beth reluctantly asks for the way. Charity smiles...

Josette's room - The music plays.  Kitty stares up at the painting, entranced. Barnabas enters and closes the door. I know what's happened, he says. Do you? she asks--I don't think you, or anyone, can--"Kitty Soames calls you Mr. Collins and tells you to leave the room; Josette..." Barnabas finishes, "Josette calls me Barnabas and wants me to stay. Don't be afraid," he says.  I am, says Kitty, more afraid than I ever have been in my life--I've been standing in this room, staring at the portrait, knowing if I allow it--if I become her...  "If you become her, you will be happy!" promises Barnabas.  No, objects Kitty.  You will be, he assures her. "The day that I become Josette duPres, forget Kitty Soames, something terrible will happen, I know it," says Kitty You can't know it, he says. I know everything Josette knew, she says--there was no picture in London, was there, Barnabas--you did not fall in love with a portrait. No, he admits, I fell in love with a woman. A woman who lived 100 years ago, she reminds him--how can I accept that? "I want you to accept that," he says gently. We focus in close-up on Josette's portrait; the music plays. "Yes," says Kitty, back under the spell, "yes, you are my love--but alive!" Oh, Josette, he murmurs."You've changed--able to live during the day, but alive!" she exults, then reverts back to being Kitty--"The man that I met, the man Kitty Soames met the first night at Collinwood--I met you in the forest and you started all this!"  By living! he says. "By the chance that I came here!" she cries. "I would have found you," he counters. Becoming Josette again, she says dreamily, "Yes, yes, you would have found me!" Kitty: "OH, WHAT AM I SAYING, I CAN'T BEAR IT!" She covers her face and tries to flee, but he grabs her, not letting her go. I must leave Collinwood! sobs Kitty, now!  That won't stop it, he insists, detaining her--"You'll come back to me!" Please, she begs, but he refuses to release her. He holds her close, his hand on her hair, calming her down.  She leans against him, once more Josette. "At last," she says, "I do remember what it was like, being in your arms--I don't care who we are, or what we are, we must be happy, we must." They kiss.

Mill - PIQB flexes his useless hand, wondering where Quentin is, and why he hasn't come--has the power gone to HIS hand; why has it simply disappeared? Beth comes downstairs.  Charity said I'd find you here, she says--good news, there's no need to fear Count Petofi anymore--the gypsies are about to catch up to him again. This greatly upsets Quentin.  Beth notes his extreme reaction and adds, "They arrived at the Collinwood estate a few minutes ago." That means they'll be coming here, he frets--someone is bound to tell them about this place--I must get out. Why? she asks, you aren't afraid, are you?  Of course not, he says, I just don't want to be here when they come around. I see, she says. Look at me, he says. She does, reluctantly.  Has something  happened to make you feel differently toward me? he asks.  No, she assures him, nothing has changed--"I still love you very much." She presses her head against his lips, hands on his chest. He holds her.  You're a good girl, he praises--I'll see you back at Collinwood.He races off.  Beth, her face filled with revulsion and fear, realizes, "My God, it's true, he IS Petofi!"

NOTES: Great performances today, by pretty much everyone. KLS' vacillating back and forth between Kitty and Josette was especially good, and that was such a romantic scene between her and Barnabas, especially at the end.

Nancy Barrett was her usual superb self as Charity/Pansy, as was Selby in his role of the now-terrified Count P.

How close Petofi came to getting where he wanted to go, but would he have had the power of his hand once he got there? Perhaps not!

The dance scene in Charity's dream was cut to ribbons, if you want to see the whole thing (and it's really romantic), check out the DS music video tape.

Now that Beth knows for sure who is who, what will happen next? Will Kitty end up permanently as Josette? Now that the hand has gone back to it's original body, what about the rest of it? How long will it take?


875 - Petofi's mind in Quentin's body, Beth muses, panic-stricken--soon he'll find out I know about it, and kill me!  I can't go to Collinwood, there must be someone in Collinsport...but even if there is, they'll think me crazy! No, wait, there's Tim Shaw--he knows about Petofi and how much power he has, Tim Shaw is my only hope!  She hurries from the mill.

Tim reads a book in his room. Beth knocks, and enters, hysterical--I need your help! she begs--I don't know you well enough to ask a favor, but my life is in danger, and I need your help. He encourages her to sit down and calm down.  Beth insists, I must leave town ASAP. He's puzzled--why? I don't know how to tell you, she says, it's so unbelievable, but you must believe it. Begin at the beginning, he advises.She explains about the mind/body switch between Quentin and Petofi--I know it's difficult to understand, but Petofi wanted a way to the future, and once he learned Quentin would be alive in 1969, he knew he could get away from his enemies if he switched minds with Quentin--and that's exactly what he's done--when he finds out I know about it, he's going to kill me--you must believe me, Petofi is so powerful. I know about Petofi's talents, says Tim. (These two were having problems remembering their dialogue.) You think I'm crazy, says Beth. No, Tim assures her. How else can I prove it to you? she wonders.  You don't have to prove it to me, says Tim. Yes I do, she sobs--you're just humoring me. I want to help you, says Tim, if you will just tell me what you want me to do. There's no way you can help me if you go on thinking I'm insane! she wails. An idea comes to her--there IS something I can do to prove it to you--go find Petofi and bring him here--when he tells you that he is really Quentin, just as I told you--Tim, please, go find and talk to him, that's all I ask, Beth implores. I'll go, he agrees--you stay here and wait for me--don't worry about anything at all. I can't help it, she cries, I'm so frightened--if Petofi finds out, he'll kill me. That won't happen, Tim assures her, you are to stay in this room until I return. I promise, she says--I have no where else to go--I'm depending on you, you're my only hope. He squeezes her hand, looks reassuringly into her eyes and leaves. Beth sits down, clearly in a dither.

Mill - Petofi opens the magic cupboard and rummages through it.  Barnabas, coming downstairs, remarks, you'd make an excellent assassination target--I thought we'd decided it was too dangerous for you to come here. One place is as safe as another, says Petofi.  I have learned nothing about the portrait, says Barnabas.  I was so busy thinking of Petofi, I had no time to find it, either, admits Petofi.  You still shouldn't have risked coming here! chastises Barnabas.  QIPB explains, I had to--all Petofi's belongings are here, and I was wondering how he was able to work the mind switch--the answer must be here, and I want to transfer both minds back to their rightful bodies--stay and help me, suggests Petofi, since I won't leave until I find what I'm looking for.

Barnabas, tired, looks through a book--I haven't found anything useful, he says. There must be a clue somewhere, insists Petofi. Perhaps, says Barn, we've made a mistake looking for a clue--my guess is what we are looking for doesn't exist--perhaps he did it through his own willpower. The power of his mind was greater? asks Petofi. Exactly, says Barn, and if he could do it, perhaps you can, too. Insane, pronounces Petofi. No, says Barn, there's one factor that we haven't yet taken into consideration--the hand, and the power of it has gravitated to you--now you might be able to use its power on HIM.  I'm not sure how to begin, says Petofi--even if I did, I'd never succeed.  Try, you have nothing to lose, and everything to gain, says Barn--where was Petofi just before the mind switch? Here, in this back room, says Q, because that's where I woke up. "Then that's where you're going now," says Barnabas. Exactly what do you want me to do? asks Petofi. Go into that room and concentrate until you put yourself into a trance, says Barn, you must try to concentrate and use your willpower and reach him with your own. Very well, says Petofi, I'll try it. I will stand in the doorway and watch you, says Barnabas. It may be dangerous, warns Petofi, because if I succeed, Petofi's mind will return to this body, whether I succeed or not, at the first sign the trance has ended, you must get out.Don't worry, I will, promises Barn. Petofi enters the room and sits in the chair. He leans back and concentrates...

Collinsport Inn - Beth sleeps on a sofa, dreaming about Quentin and Petofi telling her things they said in the past--we're going to be together again, just the two of us...he is Count Petofi and I am Quentin, you must believe me...the voices war back and forth, Quentin's and Petofi's--just you and me, Beth, you and me...  She feels a hand on her shoulder and looks up to see Tim.  Don't be frightened, he says, it's only me. She sits up and says, I was having a terrible dream about that first night. She notices Tim came back alone.  Everything will be all right, he says. But you promised to help me! protests Beth. That's exactly what I have done, he says--sit and try to be calm. He opens the door.  Beth gasps--it's Quentin, who gazes balefully at her as she shakes her head in fear.

Terrified, Beth looks at Quentin.  He stares back, cold. No one will hurt you, he assures her, no need to be frightened. You betrayed me, Tim, accuses Beth, you promised to help me. (should have consulted Rachel's ghost about Tim's lack of trustworthiness)  That's exactly what he's done, says Q--and now, my dear, I'm going to help you, too. He approaches her.  Don't touch me! cries Beth.  He wants to take you back to Collinwood so you can be cared for, says Tim. Stop talking to me like I'm crazy, cries Beth, I'm not, I told you the truth!  I'm sorry you're being subjected to this, Quentin says, if only I'd known...  It's all right, says Tim--I just want you to take good care of her. "Oh, I will, believe me," says Q--I'm going to take her back to Collinwood, and she'll make things much easier by cooperating. His eyes glitter.

Petofi concentrates as Barnabas watches over him.

Quentin assures a hyperventilating Beth, I'm not going to hurt you. don't let him take me! she implores Tim--he's going to kill me--don't you understand?--he is Count Petofi, and his mind is in Quentin's body! Quentin moves to grab her, but Beth pulls away, still pleading for Tim's help--don't just stand there and let him take me, help me! she sobs. Quentin places comforting hands on Beth's shoulders as she cries, assuring her everything will be OK in a little while. Are you sure he can make it back to Collinwood all right? asks Tim.  Yes, answers Quentin over Beth's crying.  Thanks for coming to me with this, says Quentin.  What else could I do? asks Tim--her story was so...fantastic? (Believe her, you idiot!)  It will never happen again, promises Quentin, who feels suddenly dizzy. Sit down and catch your breath, urges Tim.  Beth, released from his grasp, takes the opportunity to close the door and run off. She's getting away! says Q.  You can't go after her in your condition, argues Tim. Quentin darts for the door--she's dangerous and--I've got to catch her! he says, soon long gone.  Tim is concerned.

Barnabas looks closely at Petofi's face. His eyes are closed as he concentrates hard on the task at hand. Beth runs through the woods, Quentin not far behind. He suddenly collapses, another dizzy spell overtaking him. Beth goes to Widows' Hill. The ocean roars.

Barnabas watches the concentrating Petofi, who writhes and moans in the chair. Nervous, Barnabas exits--the switch must be taking place!  Suddenly, Petofi screams, loudly, hideously.So does Quentin, lying in the woods, who grabs his head and realizes he is back in his own body.  We hear his music and know what's happened--he's back in his own body.  Delighted, Quentin knows it worked--I'm myself again and have defeated Count Petofi--I must find Barnabas and tell him. He turns to go, but, hearing the crackling of leaves, turns back. Beth is sitting on a rock on Widows' Hill. She stands when she sees Quentin, who asks, what are you doing here?  Wide-eyed, she gazes at him--don't come near me! she says.  Something's happened--I'm the real Quentin, he assures her."You are Count Petofi," she accuses. No, he says, my mind has been restored! He moves closer to her.  Beth backs away, not believing him. It just happened a few minutes ago! he says. You can't trick me again! cries Beth, continuing to back away from him--I hate you!  Please, Beth, listen to me! he pleads.  She nearly tumbles backward over the cliff, so close is she to the edge...horrified, she stares down at the crashing waves, her mouth hanging open in terror...

NOTES: Oh, those screams when Petofi and Quentin returned to their rightful bodies! Was there such a racket when it happened the reverse way? I don't think so.

Is Beth a goner? Will she pull a Josette and tumble down Widows' Hill?  Or will Quentin be able to help her? It's a shame Tim didn't even try to believe and accept what she was telling him, as ridiculous as what she said sounded, it makes plausible sense to anyone who knows Petofi and how scared he is of the gypsies. It was really scary when PIQB was trying to take Beth with him, because you know she'd have been dead meat then and there, once her captor got her away from Tim. Would he have believed her more if she ended up dead in an alley near the Inn?

Sad, exciting!  Are we going to lose yet another character in the next ep?

Love, Robin

868 - Aristede's eyes grow huge with terror.  He hastily jumps to his feet and runs away. "No," moans the sickly, pale man who so looks like Barnabas, "no!" And he, too, loses consciousness.

Quentin listens to yet another classical tune in the drawing room while reading a book. Edward comes downstairs, looking puzzled, and joins him, surprised to find him up. Kitty remembers nothing of what happened, he says--the first thing she does recall is lying on her bed, crying, with an overwhelming sense of loss. Oh? asks Quentin. Edward, exasperated, wonders what makes this happen. I think I know, says Quentin--and shows Edward a diary faithfully kept in the 18th century by Ben Stokes. What has that to do with Kitty? Edward asks. Ben was no ordinary servant, says Q, he worked for Barnabas Collins. "Barnabas Collins!" shouts Edward gruffly--he's dead, will we ever be rid of him? No, says Q, dead or not, his shadows continues to fall on many people, including Kitty. Barnabas has nothing to do with Kitty, insists Edward. (How can he say that?) You can think I'm talking nonsense if you want, says Q, but listen--Ben Stokes wrote that Barnabas was in love with an heiress named Josette, from Martinique, but she rejected him. What does this have to do with Kitty? Edward repeats.  Everything, says Quentin--Kitty somehow is reliving that thwarted romance, and becomes Josette at times. That makes no sense, says Edward. Doesn't it? asks Q--why is Kitty constantly being drawn to Barnabas' portrait?--why did she go to Jeremiah's grave, the man Josette married?--and why did Kitty appear in Josette's wedding gown, and demand Barnabas' ring, and awaken with a sense of loss--immediately after the fact they said Barnabas was dead in his coffin? Because Gerald Soames is dead and Kitty is grieving for him! insists Edward. Quentin asks, isn't her grief rather excessive? Not at all, under these circumstances, says Edward. Quentin chuckles--what circumstances?  You never saw them together, they were a devoted couple, says Edward--their romance is out of a storybook. Quentin laughs and says, if you believe that, you do believe in storybooks! You are in no position to say so, insists Edward--you never saw them together, nor met Gerald. Do I need to? asks Q-- I know Kitty and she's far from a storybook heroine--she's practical, and down to earth, exactly what you need for many reasons--but Josette Collins is someone NONE of us need. Forget about Josette, insists Edward. I can't, as long as she's a part of Kitty, says Q--adding as long as this battle goes on between them unchecked, Kitty can die. Edward is shocked. Josette becomes stronger, Kitty, weaker, explains Q, until Kitty ceases to exist at all and Josette will live in that body again.This infuriates Edward, who says, understand this--and clearly--if I ever hear you have shown that diary to Kitty, or speak of your wild-eyed nonsense, I'll see to it personally that you're thrown out of the house. Edward walks out, angry.  Quentin calls to him, urging him to come back, but he has to answer the phone. "You fool!" mutters Q before picking up the phone. The man on the phone asks for Edward.  He's gone to bed, says Q. Wake him, orders the man.  I won't, says Quentin--I don't have to deliver messages.  I don't know who you are, but I am Dr. Ian Reed--a strange man just stumbled into his office, asking for Edward Collins, says the doctor. This interests Quentin.  Who is he? he asks. He collapsed as soon as he got here and hasn't yet revived says Dr. Reed, and never said who he was. What does he look like? asks Quentin. "Tall, thin, dark hair," describes the doctor--he's very sick. I am Quentin Collins, you have impressed me--I'll be down to take care of the matter immediately. Quentin opens a drawer and pulls out a pistol, which he fills with silver bullets.

Dr. Ian Reed gazes upon the unconscious man in his office, the man who looks exactly like Barnabas Collins...
Dr. Reed takes the man's pulse. He answers Quentin's knock at his door. Where is Edward? asks Dr. Reed.  I said I would take care of the matter, Quentin reminds him. The doctor brings Quentin over to look at his patient.  Quentin is shocked, stunned, totally amazed. He looks at the sleeping man and says, "Leave me alone with him." The doctor refuses--he's still unconscious. Go! demands Q. You may be in the habit of running Collinswood in Collinsport, but I run things in this dispensary, says Dr. Reed, and no one tells me what to do. (Go, doc, go!) Angry at being thwarted, Quentin just looks at him. The man awakens--where am I? he asks.  You're in my office, Dr. Reed assures him, perfectly safe. How did I get here? the man asks. "That's exactly what *I* would like to know," says Quentin. The man who looks like Barnabas turns his head and looks at him. "Are you Edward Collins?" he asks. "Am I WHAT?" asks Q, baffled.  "Edward Collins," the man repeats--"I asked for Edward Collins." This is Quentin Collins, says the doctor, don't you know him? No, I don't, replies the man. He's telling lies, insists Quentin. Don't  use that tone, orders Dr. Reed--this man is very sick, and I don't like...  "And I don't like you interfering in my business!" says Quentin cruelly--"Now get out!" Again, the doctor refuses--you can't talk to me in that tone--but he does leave Quentin alone with the patient. Quentin reaches into his pocket and says, the doctor is out of the room--"Open your eyes!" Barnabas does so, only to find Quentin pointing a gun at him.  I don't know what you did, or how, says Q--it doesn't matter, because I'm going to kill you! Dr. Reed returns--drop the gun, he commands. You don't realize what's going on here, says Q.  The doc sticks to his guns and demands Quentin drop his.  Reluctantly, Quentin does so. What do you have against this man? asks Reed, who has never seen you before?--have you seen him?  "No, he hasn't," says the man who looks like Barnabas. Don't upset yourself; urges Dr. Reed--I called Edward Collins and got him this time--he'll be over in a few minutes--in the meantime, you're quite safe here, if he tries to harm you again, he'll have to shoot me first. Quentin looks pissed, and quite prepared to off the doctor, too.

Time passes. Barnabas opens and closes his eyes, drifting into and out of sleep. Quentin paces the room as the doctor watches his patient. When Edward finally arrives, the doctor calls to him to enter. "Come on in, Edward," says Quentin. Edward sees the man on the table and, rocked and scared, insists, "This can't be!"  Who is this man? asks Reed, and what is it about him that makes you all so peculiar?  He's a distant relative, answers Edward, one we didn't expect to see again--could we be alone with him?  The doctor looks at his patient and decides it's OK--he can trust Edward. Quentin closes the door after the doctor and takes out his pistol again. "This man is dead, we know he's dead!" says Edward--"Don't we?"  I saw him in his coffin, agrees Q. Then how can he be here? demands Edward. I don't know, says Q. You know what we must do, says Edward. I sure do, says Q--and points the gun at him. The man wakes up, sees the gun near his face again, and weakly asks, "Why are you pointing that gun at me?" You know who you are, as do we, says Edward. You know nothing about me, I'm a stranger here, says the man, how could you know anything of me? A stranger? scoffs Edward. Yes, says the man, I came from England first (he coughs). When? asks Edward. "I can't remember," the man says.  "After everything that's happened here," says Q.  What has happened? asks Edward.  Nothing, answers Quentin, he's just trying to fool you again, but he's not going to get away with it. "Fool you again?" asks the man--"I've never seen either of you before." "Let's finish him off now," says Quentin.  Edward stays the hand holding the gun. Wait a minute, says Edward, Dr. Reed is standing outside the door, if you kill him now, the doc will say we killed an innocent man. I don't care about Dr. Reed, says Q.  It will be dawn in a few minutes, Edward reminds him--then, we'll prove to Dr. Reed the man isn't as innocent as he thinks he is. All right, agrees Quentin, what do you have in mind? Edward checks his watch--it will be dawn in a few moments, and it won't be long before we all know the truth. The man on the table says, I AM innocent.  You don't need to say anything now, says Edward--in a few minutes, you may have a good deal to explain. "If you're still alive, when dawn comes, says Quentin. The man on the table looks terrified.

Time passes. Quentin aims the gun on the man lying on the table.  Edward's watch shows 6:40 AM. He looks out the window at the approaching sun. The man...the gun...Edward at the window...the rising sun. The sun has risen, announces Edward. "Oh, thank God!" says the patient reverently. Why? asks Quentin. "Perhaps now you will listen to me, who I am, and what has happened," the man says. I don't care, says Quentin, still holding the gun on him. He's lived through dawn, points out Edward; he's not the man we thought he was--I don't know who he is, but I'm going to find out--"Who are you?" he asks the man, who responds, "My name is Barnabas Collins." What? asks Edward. It's an old family name, says Barnabas--"My ancestors came from Collinsport, so I came here." Came from where? asks Q. "From England, at first," says Barnabas, "then Boston--in a newspaper, I read about Edward and Judith and Quentin Collins, so I came here." I don't believe you, says Quentin.  Let the man speak, orders Edward. Barnabas continues, "I would rather not--this part of the story is so horrible, it terrifies me to tell it." "What happened, my boy?" asks Quentin, still rudely holding the gun on him. "I came to Collinsport, says the patient, and as I set out to your house, I met him..."  "Who was he? asks Edward. "I don't know," says Barnabas--"I don't know!" What did he look like? asks Q. "Exactly like me," says Barnabas, "I saw him first very suddenly in the dark woods, and as he came close to me I could see the terrible cruelty in his face, the need to destroy, and from what night on, he tried to destroy me." How? asks Q. "By putting me under some sort of thrall--I could do nothing, could remember nothing from that night on, except for when he would come to me every now and then, approaching me in the same manner, with his mouth open wide and two terrible fangs in his mouth..." Again, Q says, I don't believe him.  It's well past dawn and he's still alive, Edward points out. It's a trick, insists Quentin, holding the gun on Barnabas, and pulls down his collar, showing no marks on his neck. It's a miracle! cries Barnabas--perhaps it's true--"He's gone, he's finished with me--he's never going to come back to me anymore!" He IS finished with you, says Edward. "Yes," says Barnabas, relieved. "How do you know?" He's dead, reveals Edward.  Quentin pulls Edward away from Barnabas, and says, wait a minute, come here you fool--why are you telling him the creature's dead?--do you know what that means?--that you believe he's a vampire victim and not the vampire? Well, I don't. Incredible as it sounds, says Edward--it could have happened. If it didn't, says Q, and the man is lying, what then? Edward agrees--I was ready to accept this man too easily. I want to finish him off right now, says Q.  Not yet, says Edward--there's one way we can test him, one more way, with more than words to prove it--the three of us together can go to the cave and look into the coffin. No, says Quentin, I saw the body in the coffin and brought you the ring. Yes, but you were there before this man went to Dr. Reed, Edward says--I think we should go another time--now. I think he's too weak to go to the cave, says Q.  We must take him anyway, insists Edward, who helps the unsteady Barnabas off the table and assists him in walking. Dr. Reed starts to tell them this man is in no way ready to leave.  I'll take full responsibility for him, says Edward. Dr. Reed says he's very ill--he may not live through what you have in mind for him.  You're quite right, agrees Edward (how cold!), he may not, then asks Barnabas, are you willing to come with us? "I'm willing," agrees Barnabas. Even Quentin helps Edward assist Barnabas from the room, gun still in hand. Dr. Reed says, I'm no longer responsible, and as a parting shot--I'm through with this whole peculiar business, and well rid of it!  He closes the door after him and sits at his desk to write.

Cave - They find the door open.  Quentin volunteers to check for trouble while Edward supports Barnabas outside the cave. Quentin enters and whispers for Aristede, but receives no answer. The chains on the coffin are unlocked. Quentin calls to Edward, I found absolutely nothing, seeming very happy about it--I found nothing--but that, he says, gesturing with the gun to the unlocked coffin. "His story was pathetic, but you're right," says Edward. "I accepted it too easily. Put that gun to his heart--right to his heart--and if that coffin is empty, you fire." Quentin points the gun at Barnabas' heart.  Edward opens the coffin. The chains fall to the floor. Inside lies the staked body of Barnabas. Quentin's eyes widen to the point of just about falling from their sockets. "It's HIM!" says Barnabas in a hushed, frightened voice.The three of them stare at the vampire's bloody mouth.  Barnabas walks around to where there's more room and drops unconscious to the floor. Edward and Quentin kneel beside him.  Quentin checks his pulse.  Edward looks once again at the body in the coffin and, in a stricken voice, says, "Oh, God, what's going on here? What's going on?" Barnabas lies, unmoving, on the dirt floor.

NOTES: What a GREAT episode (script by Violet Welles), and what a clever, clever plan the team of Barnabas, Julia and Angelique came up with! It was so good seeing Frid/Barnabas again, and the story he told was marvelous. Fantastic acting by Edmonds/Frid/Selby in all scenes. Poor QIPB was chafing at the bit to just kill the poor, sick man, but luckily, Edward arrived and saved him, and believed him. Didn't it give you chills, though, when Edward ordered Quentin to shoot him in the heart of the body wasn't there? What if someone had taken it? Never mind, don't want to go there. Hope poor Barnabas is OK, and will be his old self again soon.  Since he didn't disintegrate at the rising of the sun, can we safely assume this Barnabas is fully human?


869 - Barnabas lies unconscious on the cave's floor. Quentin joins Edward by the coffin and both gaze down at the staked vampire's body.  The newly-arrived Barnabas begins to moan and awaken. Edward tests his pulse--we shouldn't have brought him here, he says, worried. Quentin protests--the man wanted to come see for himself! The doctor was right, frets Edward, he was too sick to come. Perhaps we should return him to the doctor, says Q. No, we're taking him back to Collinwood, insists Edward. Are you crazy? asks Q. No, says Edward, you heard his story, he's a Collins; and has been through a terrible experience. I'm not sure I believe him, says Q.  What other choice do we have? asks Edward--clearly we are in the presence of two different bodies. But they look completely the same! argues Q. We've both seen this man can exist in daylight, says Edward, and the stake remains in the heart of the vampire--we must help him in every way we can--as soon as we chain the coffin, we'll take this man back to Collinwood and help him regain his health. Edward firmly closes the coffin.

Collinwood - Charity comes into the drawing room and sets up Amanda's portrait on an ornate stand. She smiles, singing her song, then closes the double doors on the portrait and sits on the table in the foyer.  Trask enters and sourly reminds her, "Singing is forbidden in this house."  You did tell me that, quite some time ago, she admits. Then why did I hear you singing just now? he asks.  Maybe because there's a bit of the devil in me, she teases, leaning in close to him. (This was a great line, and scene!)  You still refuse to recognize me as your father? He demands.  You've never been my father, never will be, she insists--I remember old Bertie well, though not always with pleasure. Since you insist you have no family here, might you not be happier someplace ELSE?  Trask suggests. She laughs--you're the transparent one, she says--does my presence here embarrass you?--if so, take it up with your wife; I'm her guest, she's been very kind, and I'm grateful to her--Judith thinks I can be respectable--which is more than I can say for YOU, she finishes nastily. He grabs her arm and orders, listen to me--you aren't going to stay here! Listen to ME, she counters--if you're a good chap and leaves me alone, just maybe I won't tell Judith what a rotter you really are--"Get my meanin', Guv'nor?"--and grins evilly. Furious, Trask bursts into the drawing room and is confronted by Amanda's portrait.Pointedly, Charity remarks how pretty Amanda is, claiming, I have no idea who brought it into the house--does it bother you? she asks. It should brother you more than me, he says, wasn't it Amanda Harris who drove you from the house? What drove me away, rails Charity, was the way you were carrying on with her! "I was NOT carrying on with her!" bellows Trask.  I saw it with my own eyes, insists Charity--the way you looked at her and touched her, claiming to be "helping" her--ain't much escapes old Pansy, Luv, she says, and walks off, singing her song.  Trask follows her dancing figure.  That picture was brought in to discredit me! he says--I swear I'll find out who brought it in and make them pay! Charity, already on the landing, gives him her rump toss and, still singing, disappears. Trask is livid. He goes back into the drawing room and stares at Amanda's portrait. Hearing the door open and close, he is stunned to see Quentin and Edward enter the house, Edward supporting Barnabas Collins!

 "You've brought him back from the dead!" gasps Trask, horrified--"You've brought the vampire back!"  Don't be absurd! Edward advises--listen!  This is the devil's work, accuses Trask, and he's called upon you to help him! "Who is he? asks Barnabas, looking askance at the man in black. "Mr. Gregory Trask," responds Quentin, protector and guardian of family virtue--may I present to you...  Edward stops Quentin--it's not time for your humor, insists the older man--take Barnabas upstairs, I'll speak to Trask. Quentin leads Barnabas upstairs, slowly, as Trask sharply watches, then asks, is that man Barnabas Collins? That is his name, says Edward.  He was in his coffin with a stake through his heart, says Trask. The man you're thinking of is still in his coffin, a stake through his heart, says Edward--this is not the same Barnabas--he was victimized by the Barnabas we all knew, and is in a terrible state.  I refuse to believe it's a different man, insists Trask--I trust my instincts and believe the devil is at work here, and has deceived you as he has so many others. I trust my eyes and heart, says Edward, which have not deceived me in this instance. You've made a mistake, says Trask--the man must not be allowed to stay. The man is very ill, says Edward--do you want to turn him out into the woods and let him die? His presence is a danger to all--he must leave, says Trask. If he leaves this house, says Edward, it will be on Judith's orders, not yours!  (go, Eddie!)  "Well, I assure you, Edward, I will speak to Judith about it!" shouts Trask peevishly. Trask follows Edward into the drawing room, where the latter has found the portrait of Amanda. I've encountered callous and insensitive people in my time, says the scandalized Edward, but you deserve a special award--how could you have the audacity to bring a portrait of this woman into Collinwood? I'm not responsible, Trask assures him, and I don't know--I was as shocked as you were.  I don't believe you, says Edward.  Trask says it's true--there was nothing between that girl and me!  Rubbish, says Edward, even the servants know there was something between you two, and when the servants know about something, you know it's true!--get the portrait out of here before Judith sees it, do you understand?

Quentin has Barnabas ensconced in an upstairs bedroom. Barnabas thanks him and Edward for bringing him here. Barnabas, Quentin says, now that we're alone, you don't have to play act anymore--I know the full story. Barnabas is puzzled--play act? You are the same Barnabas we knew before, says Q--there can't possibly be two of you. "Mr. Collins," says Barnabas, disappointed, "you haven't understood a word I've told you." This is your friend speaking, says Q, you can be honest with me. I've told you and your brother everything, says Barnabas. I can understand your not telling Edward about Angelique and Julia, says Q.  "Angelique?" asks Barn-- "Julia?" Yes, Q says, I know you were working together to bring you back--how they did it I don't know, that's irrelevant--what matters is, you are back, and now we can work together to fight Petofi. "Petofi? Fight?" asks Barnabas, lost--"You must believe me, everything I told you in the doctor's office was true--I don't understand why you doubt me--you, too, saw that coffin." Yes, I see, says Q--well, perhaps I was wrong, but you'd better get some rest...Barnabas.  And he leaves the room. Barnabas lies in bed, exhausted.  We still can't tell for sure what's going on.

I'm going upstairs and will return in half an hour, Edward tells Trask--attend to the portrait. Are you going to visit the patient? Sneers Trask.  I am, says Edward. I'll pray that no harm befalls anyone in the house because of HIS presence, says Trask, because if it does, it will be your fault. In all your fanatical ravings, says Edward, there's one salient point you've failed to grasp--Quentin and I brought this man in during broad daylight--even you must grasp the significance of that--a vampire can't live during the day. Quentin enters, asking, Edward, are you STILL explaining things to Trask?  No, I think he gets it now, says Edward, and leaves. Trask gazes with hatred at the smiling Quentin, who spots the portrait and asks, what we have here? You tell me, suggests Trask--you're the only one who could have done it! That is a brash assumption, says Quentin. You brought it here to embarrass me, accuses Trask. Smiling, Quentin says, that's another intriguing statement--why should this portrait embarrass you?--don't tell me you weren't a good boy while my sister was away? (Loved that dig!) Remove it at once, demands Trask. Sorry to disappoint you, says Q, the portrait isn't mine and it would be wrong for me to take it, wouldn't it?--you have aroused my curiosity, I'd love to know who does own it. I'll ask the painter, Tate, says Trask, and right now. That might be a mistake, says Q, my instinct tells me you'd be better off leaving well enough alone. Trask storms off. Quentin looks once more at the portrait, then gazes out the window.

Cave - Quentin opens the coffin and stares down at the body inside.  Barnabas Collins, my enemy, he says, are you as dead as you seem? I think not, somehow, there is a connection between you and this coffin and the man who walks in the day. You must be destroyed! He closes the coffin, covers it with gasoline and takes in hand a flaming torch that just happens to be there.  Just as he's about to set it aflame, Edward enters--what are you doing? he demands.  I'm going to destroy this creature, says Q, whatever it is. That's inhuman, protests Edward.  Does this creature deserve humanity? queries Quentin. Of course not, says Edward.  You must admit, Edward, says Q, as long as the body is here, the family is in danger, and besides, I'm very curious to know how this destruction will affect the Barnabas who is inexplicably among us--yes, he says, grinning madly, extremely interesting. Quentin sets the coffin on fire and laughs--"Yes! The vampire is destroyed--forever!" he gloats.

Barnabas sleeps. Someone, we don't see who at first, enters his room--Trask. He gazes at Barnabas and says, I didn't knock because I thought you'd be asleep--"I am the Reverend Gregory Trask," he says. "How do you do?" asks Barnabas.  I was concerned about you, says Trask--you seemed so weak when they brought you in. I'm not feeling any better, answers Barnabas.  I'm sorry, says Trask--perhaps you could use something to help sustain you through this great trial, something like this--and holds up a cross."Is something wrong, Reverend?" asks Barnabas (sounding devious). Trask is pissed, but quietly says no, I merely brought it along to help you pray for his swift recovery. "Thank you," says Barnabas, "That's very kind of you."

Drawing room - Charity is not happy when Edward tells her that a man who looks like Barnabas is now in the house--Quentin and I went to the place where you killed him, he explains--his body is still there.  Charity looks distressed--I don't like it at all!  Don't let this stranger's presence upset you in any way, he says, you're in no danger.  I think I understand, she says. I'm going up to see the patient, he says. Quentin enters; Charity cries out. Quentin closes them in the drawing room, but she refuses to stay alone with him, promising, I'm gonna scream if you don't open the doors. You must not be frightened of me, he says. That's what you say, she retorts. I'm as scared as you are, says Q, wondering if Edward is wrong about the man upstairs. I'm not sticking around to find out, she insists--I'm leaving the house! That won't solve anything, he says--you're the only one who can help me, since you're the one who destroyed the vampire--if anyone can tell us if he's the real Barnabas, it's you.  If you think I'm going to that creature upstairs, you're crazy, she says. "Pansy, you owe it to Judith," he reminds her, who's letting you stay in the house because she likes you--I won't let anything happen to you, I promise. What do you want me to do? she asks. Look at the man, says Q, don't worry, I'll be standing right beside you--look at that man and tell me if he's the same Barnabas who was at Collinwood before. Hearing of this little experiment in what she must play a major part, Charity looks very displeased...

Quentin enters Barnabas' room and says, I'm here to settle this matter once and for all. I don't understand, says Barnabas.  You will, Q assures him, and brings in Charity/Pansy. She looks away at first.  Look at him and tell me if he's the real Barnabas Collins! Demands Quentin.  Obviously terrified, she turns her head slowly and looks at the man in the bed, who gazes steadily back at her.Charity's mouth drops open and her eyes widen...

NOTES:  Oh, the suspense is killing me!  What does Charity/Pansy see?  Is this man the same Barnabas?  Why is he so ill?  Is he acting very brilliantly, or does he really not know these people?  It's really exciting, isn't it?

We know Charity bought Amanda's portrait, but for what reason?  To drive Trask nuts, as he so deserves?  Everyone is wondering where it came from, especially Trask.

These shows are so exciting, aren't they?  I always loved this portion of 1897.

Love, Robin

864 - Spellbound, Evan begs, let me live!  Why? asks Quentin--to let you play at black arts, be a dilettante warlock? To live hypocritically, as you do?--no, I can't give you one reason why you deserve to live--not one! The Collins family trusts me, says Evan, I can help you. If I give you another chance, says Q, will you do anything I ask of you? Yes, says Evan, even though I know that grave is waiting. All right, says Quentin, you have three minutes to tell me what you can do for me. Quickly, Evan says, you need someone like me, who knows your secret, someone you can trust, who can help you. I have Aristede for all that, says Q. But he cannot appear at Collinwood, Evan reminds him, making a good point--if you and Aristede became friends, people would wonder. You're very bright, says Quentin.  Evan continues his list of virtues--if they began to suspect something, Edward would confide in me, I'd see that he did, I'd keep you informed--please, give me a chance, begs Evan--there must be something you want to know. "Look at your grave," commands Quentin, his expression cruel--"Remember it."  I can't forget it, says Evan. Good, because if you bungle this, Quentin promises, we will meet back here again! What do you want to do? asks Evan.  I'm glad you're anxious, says Q--there's a mystery needing solving, and her name is Angelique...

Collinwood - Angelique picks up the phone and asks the operator for Coburn's Pharmacy, number 687. Charity calls to her from the landing--are you making a call? Angelique hangs up--I was is just finishing, she says.  Is the carriage waiting? Asks Charity. Sarcastically, Angelique says, walk to the door, open it and find out. Dressed in purple, Charity looks rather pretty. La di da, how grand we are, considering the fact that you may never be Mrs. Quentin Collins, as I could have told you, Luv...  Angelique interrupts--you did tell me that, and several times--excuse me.  Charity walks around to block her, complaining, you don't give a girl much chance to gloat.  I was the one who postponed the wedding, says Ang. Was you, indeed? asks Charity, smiling--I have to thank you for giving the rest of the girls a chance--there will be a wedding in this house soon, but you will be sitting and watching. If I choose to be, yes, agrees Ang coolly. If anyone asks for me today, says Charity, I'll be shopping.  I suggest you not buy your trousseau quite yet, advises Ang. "No, I wouldn't make the same mistake YOU did, Luv," laughs Charity, and heads out the door, boa looped around her neck as she laughs her ass off. Ang calls the pharmacy again and asks Mr. Coburn, are my medicines ready--I need them right away, it's vital. Quentin enters.  Angelique says into the phone, "No, she's not here now, she just left." She hangs up. Quentin asks, "Charity? Don't tell me she has a secret admirer."  I don't know who it was, replies Ang, and heads for the door.  I hope you aren't leaving because of me, he says. No, she says. You said that too quickly, insists Q--what's wrong? Nothing, she assures him.  You're a bad liar--which surprises me, he says--where have you been keeping yourself since postponing the wedding? Perhaps I didn't want to see you, she suggests--I might regret the decision I made. How can I make you change your mind if I never see you? he asks, pulling her close--convince you what a good husband I could be. He seems to be trying to kiss her, while she appears to be avoiding it with equal fervor.  You never seemed interested before, points out Angelique. I am now, he says. Our courtship was anything but idyllic, she reminds him. I want to change that--tonight, he says--we're going to the Inn at Rockport for dinner, and after dinner, we'll look at the moon shining on the water--be ready at six. I can't, she says. You will, he insists. Not tonight, says Ang, I don't feel well, I have a headache. (real original!)  I'll make it go away, he promises. What a boy you are, she chuckles, I should have realized long ago that you always become fascinated when I don't take interest in you--"Oh, I would love to have that dinner with you, tomorrow night, or the next." She hands him her cloak so he can help her into it--you are changing, you know, she remarks. Because you demanded it, he says. We'll see how long that change lasts, she says. I intend for it to last a long time, he says firmly. (think the old goat just wants into Angie's pants, or does he have less human motives?)  She turns and leaves, rushing off. Evan follows her...

Charity goes to see Charles Tate, who is still fruitlessly trying to draw--but can't even hold a pencil.  He drinks, greedily.  When she shows up on his doorstep and greets him cheerily, laughing, figuring he's wondering what she's doing here. Showing off her pretty dress, she flounces in. He closes the door, sending the window shade falling to the floor, and says, I'm glad you're here--I need company. Any company, that's what you didn't say, teases Charity. You're better than most, he says.  Do you call that a compliment? asks Charity. Welcome to the Tate studio, he says--filled with paintings by the late Charles Delaware Tate. She points out you aren't dead. "That remains to be seen." he says. I can see, she says--I wouldn't be here if you were dead, she giggles. I have a surprise for you--I want to buy a picture. I'm sure you're kidding, he says.  Angrily, she asks, "Ain't I good enough?" Better than most, says Tate. Can I have any one I want? she asks. Sure, he says. She begins to look. You must pay, he says--how will you do that? I've got a way, she says, grinning. I bet you do, he says. (in trade)? She giggles, calling him a naughty boy. Take anything you'd like, he invites--sinners, saints, ladies, not quite ladies...  Charity finds two of Amanda Harris.  Tate takes another drink, commenting, a person can make the same mistake twice. Charity chooses a painting. It's yours, he says--turn it around and let me see it. It's one of the paintings of Amanda. Not that one, says Tate--it's not for sale. You told me everything was, she complains. Nervous, angry, he asks, why do you want that? I like it, says Charity. Quentin sent you here, didn't he? demands Tate. I wouldn't buy anything for Quentin, feeling about him the way I do! she says.  Trask? Guesses Tate. "That old crow?" Who was it? demands Charles, turning her around. You aren't very nice, says Charity, then adds, I didn't really like Miss Harris, but I find this painting sort of...restful. Tate drinks, thinking.  She again reminds him of his promise to sell her anything she wants--will you or won't you? It doesn't make any sense, says Tate. Why do you paint? she asks--to sell them or argue with people who want to buy them? I paint them to sell, he says, it just so happens the painting you want is two--five thousand dollars. He drinks, then laughs, and is stunned when she hands him the money--in cash. Where did you get he? he asks.  She snatches her hand from his--did I ask you where you got your talent?She shows him the money--do you ask others how they're going to pay your price? demands Charity--what's so peculiar about me?--it ain't stolen--"Wrap the painting, please?" she requests.

Dusk - Angelique, holding her items from the pharmacy, opens a wooden door covering a hole in the ground. She climbs down some stairs.  Evan, who has seen her, kneels to examine the square.

8:50 - Collinwood drawing room - Quentin is reading and singing along with a musical score. Someone knocks. It's Evan, who is horrified to see what Quentin is doing--it's very dangerous--the real Quentin would never do that! You're very right, says Quentin, I'll read my score in my room from now on. Evan has news--I followed Angelique to Cobun's Pharmacy, where they knew her well. She went to Shipwreck Point, where there was a clump of trees; stopped, brushed away some leaves, took hold of an iron ring and lifted a door out of the ground. She went down into some sort of a cave--I didn't follow her. That was wise, says Quentin--congratulations.  Evan smiles.  Tonight, says Q, we'll know what she's doing, why she postponed the wedding, and what her connection is to the late--at least to them--Julia Hoffman--return there at eight, wait until she leaves. What if she comes back? asks Evan. I'll keep her here, promises Quentin--you are to find out everything about that place you can, then report back here at 10 PM. There may be someone else there, says Evan, there must be. "And won't it be interesting to find out who it is?"asks Quentin. If I'm not back by 10...begins Evan.Then I would have begun to worry, says Quentin coldly, because I will have lost someone who showed signs of being an intelligent servant.  And he looks straight into Evan's eyes.

Angelique leaves the secret hideaway and runs off. Evan kneels to open the trap door.

The clock at Collinwood strikes 9 PM. Quentin sits waiting in the drawing room. Angelique enters.  I've been worried, he says.  Oh, darling! She says.  How is your headache? He asks.  Much better, she says, slipping off her cloak. Did you buy medicine for it when you went into town? He asks.  No, I didn't, why?  I think it's silly for someone to have a headache and not do anything about it, he says--where were you? She laughs--you act as though we're married--you have no right to ask me that!  I do, he says--we're still engaged.  Do we have to discuss it now? she asks--I'm tired from my errands. He offers to tell her what HE thinks her errands were.She looks surprised, scared, then says, "If you wish." "I think you're seeing another man," he says. Her mouth twitches. How could there be another man? she ask--it takes all my time and effort just dealing with you! She laughs heartily--I'm glad you care, she says--it's not true, about the other man--let's go in and talk about pleasant things, she suggests, tucking her arm in his.

Evan enters a place filled with rocks, water, brick. It's damp, with the sound of running, dripping water. "Who's here?" demands Evan, but he receives no answer.

10:05 - Collinwood - Angelique notices Quentin is watching the clock and remarks on how preoccupied he seems--should I make you a drink?  He refuses.  You ARE changing, she remarks. You keep saying that, he says impatiently--isn't it possible for one's taste to change in brandy?-- perhaps I'm just restless, I'll take a walk. He goes to get his cloak. She offers to join him.  You said you were exhausted, he reminds her. If you don't want me to come with you, I won't, she says. I had a business appointment, he claims--I didn't think I'd make it, but decided I would--I won't be long.  He leaves.  Charity appears on the stairs. "So, he left without you again, Luv!" she cackles. Angelique just looks annoyed as Charity laughs at her.

Quentin climbs down into the secret underground room and finds Evan unconscious. He calls him, rolls him over.  Someone hit me from behind, says Evan--I don't know who--"Please don't do anything to me, it wasn't my fault!" begs Evan hoarsely, holding his head. It wasn't your fault--this time, Quentin reassures him.

"Miss Trask," says Ang, "and I AM going to call you that...  I don't understand why, says Charity, annoyed.  We've wasted enough time discussing Quentin--he's still my fiance, and we spent the entire evening together...  Charity bursts into fresh laughter and says, "That don't mean a thing, luv, that don't mean a thing!"  Quentin returns.  Ang is surprised--I hope your business went well. He hastily says, I won't know until later--excuse me--I have an appointment early in the morning. Of course, darling, says Angelique, giving him a chaste kiss on the cheek for Charity's benefit--good night. Angelique gives Charity a triumphant glance.  Miss Trask gets a weird look on her face."It ain't him," she hisses, "that man ain't Quentin Collins!"

NOTES: Say what you want about Charity/Pansy, she really is psychic, and she has called this one on the mark. Loved the nasty interplay between her and Angelique over Quentin, like two girls arguing over the last piece of (man)candy in the box.

Who knocked Evan unconscious? He really is TERRIFIED of Petofi, isn't he? You've got to love how he talked his way back into Petofi's good graces, very quick-witted, but he IS a lawyer!

This is one of the few times I worried about Angelique. She's keeping her promise to Julia, but isn't aware she's being followed--or that Petofi and Quentin have switched minds. If she and Quentin had spent the evening making love, would she have caught on? Then again, we assume they never have, so she wouldn't have known the difference, would she?

Why did Charity buy a picture of Amanda? She hates her, why would she want such a thing? There's a very good reason for this, and we will shortly find out what it is. Suffice it to say that Charity doesn't personally want it.

Now we're going to see Charity in danger, and all this is going to come to a head as another long-gone character returns to us! Happy viewing!


865 - Amused, Angelique tells Charity, if the man who just went upstairs is not Quentin Collins--I thought he looked remarkably like him. LOOKED like him, yes, agrees Charity in her "mysterious" voice, but there was something terribly different about him. Yes, Quentin has changed a great deal since I came into his life, boasts Angie. Charity, agitated, says, that ain't it--it's something different--something EVIL!  Angelique looks perturbed. Listen to me, says Charity, I sense things like this, and I'm never wrong--she (and we) begins to see a building not far from Collinwood--it's a strange building, the inside walls are made of stone, and there's furniture, a music stand, and stairs--the building is below the ground, and somewhere in that building is the REAL Quentin!--he's in that building! cries Charity. Quentin, standing on the stairs, overhears the last and jumps in, saying, since the conversation is about me, I should take part. The women look up at him. You shouldn't, says Charity--you ain't Quentin--you can fool everybody else, but not me! Explain yourself, demands Quentin in a fierce voice. You do some explaining, she insists, asking him (finally someone who thinks about it!) the date of his brother Carl's birth (you go, girl)! And the date of his death, continues Charity. "You're completely mad," he says. "You can't tell me because you don't know!" she accuses, then tosses him another--what did Carl give you on your 21st birthday?--I remember Carl telling me what it was, now YOU tell me! Angelique is listening and watching the other two carefully. Quentin tells Charity, I'm not in the habit of taking orders to do things. He's stalling, shouts Charity--"you don't know the answers!"  Quentin asks Angelique, what nonsense has Charity been telling you? Nothing I can take seriously, chuckles Ang. You'd better take me seriously, says Charity passionately, if you know what's good for you! Is that a threat? demands Quentin. You still haven't answered my questions, says Charity. Tell her what she wants to know, says Ang, so we can all get some sleep. I refuse to be interrogated in my own house! he says angrily, and don't have to be intimidated by a mad maniac. "Mad, am I?" cries Charity--you can fool everyone else, but not me!  He tries to grab her arm, but she shakes it free, demanding, let go of me--I don't want you touching me!  "We do not want your madness in this house!" yells Q--there is to be no more of that, do you understand? "Who ARE you?" asks Charity--"And what have you done with poor Quentin?" He advances on her again.  Stay away from me! she orders, and dashes upstairs, shouting, "Stay away from me!" Angelique, smiling at Quentin, says, well, why don't you admit it? He looks at her, feeling trapped--what do you mean, "admit it?" That you handled that very badly, she says. They have a staring contest.

How would you have handled it? he asks. I wouldn't have gotten so angry, for one thing, she replies. Charity's a lunatic, says Q. If it's all in her imagination, what can you fear from it? asks Ang. That's not the point, I don't have to be subjected to her madness, says Quentin furiously.  Thinking hard, Ang suggests, have a brandy--I'm concerned about you, and you do have a right to peace of mind in your own home. I like you like this, he says, warm and understanding--perhaps I was wrong about us. No, I like to think I was wrong, she says--perhaps I shouldn't have postponed the wedding. She has placed her hands on his jacket and is gazing up at him. Would you consider a new date? he asks.  Yes, she says.  He kisses her lightly on the lips. She seems to relish that, smiling slightly.

In the old mill, Aristede cleans his knife.  I wonder where your good friend Evan is now? he asks Petofi--he must be quite a good lawyer--anyone who can talk himself out of being buried alive...  Be quiet! insists Petofi, annoyed. If you're not happy with my company, says Aristede, you might   as well leave--Count Petofi. Stop calling me that, demands P. That's your name, insists Aristede. You know who I am, counters P, address me by my real name. What would people say if I did that? asks Aristede, then adds, sarcastically, "My name is Aristede, may I introduce you to my good friend, Quentin Collins--what's that?--oh yes, I realize he doesn't look like him, but..."  STOP IT! yells Petofi. You might as well resign yourself to it, says Aristede--as far as the world is concerned, you will play the master and I the servant--at least for the moment!  What do you mean? asks Petofi. I plan to leave the mill for the grandeur of Collinwood, boasts Aristede. YOU at Collinwood? demands Petofi, right in the other man's face--if you think your master would entertain such an idea, you're crazy. I am speaking of Collinwood of the future, says Aristede. Do you seriously believe he intends to take you with him to the future? asks Petofi. He certainly does, says Aristede confidently.  "I was wrong, you're not crazy, you're stupid," says Petofi. This hits an obvious nerve with Aristede.  Petofi continues--he doesn't need you anymore--at Collinwood, he'll have all the comforts of life--take you with him, indeed!--an albatross around his neck is what you'd be, and he knows it. Aristede holds his knife on Petofi, who says, the truth is sometimes hard to accept--your master's made it clear he wants this body left unharmed, so put the knife away before you make a serious blunder. It won't be a blunder, says Aristede, I know you will get yours--I only wish I could be here to see it. You will be, promises Petofi. They hear someone coming.  Aristede orders Petofi into the back room. Petofi refuses.  You'll do as I say! orders Aristede.You're forgetting the game, says Petofi--I am the master, you the servant, and in the presence of others, must do as I say.  Angelique joins them. You're the last person I expected to show up, says Aristede. Why? she asks, smiling, aren't I welcome? Of course you are, says Petofi, what can I do for you? She admires his pleasant quarters, and the music stand--do you play an instrument, Count Petofi?  Curtly, Aristede says, my master is very fond of music. She didn't come to admire our modest furnishings, says Petofi. Yes, agrees Ang, I came to speak to you alone. By all means, says Petofi heartily--Aristede, leave the room.  "Excellency, do you think that would be WISE?" asks Aristede significantly. Are you questioning me? demands Petofi--if not, get out! He slaps Aristede across the face--get out!  Aristede shoots him a look of death before exiting. Angelique comes right to the point--we have a bargain not to interfere in one anther's plans, but I have reason to believe you're doing something to Quentin, something that has made him change, that will bring him to great harm. "You should have been the first one I told," he says quietly, "But I was afraid you'd be the last one to believe me--you must believe me now, Angelique; however bizarre it may sound, you must believe me."  Believe what? she asks. "That I am Quentin Collins," he says.She gazes at him, stunned.

Collinwood - Quentin goes to Charity's door, rattles the doorknob, knocks--it's Quentin--I want to talk to you. What about? she asks. I'd like to apologize for being angry, he says, I didn't mean a  word I said--you must believe that. All right, she says. We can be friends--so open the door, he asks. She refuses, terrified. There's no need for you to be afraid of me, he assures her. You're lying, she says--I don't trust you, or know who you really are!  You shouldn't say things like that, he warns. I can't help it, says Charity--"It's the truth, ain't it?"Listen to me carefully, he says, "If you go on raving the way you have been, your days are numbered, Charity!"  She is petrified.

Quentin walks downstairs, fastidiously adjusting his clothing. He enters the darkened drawing room. The lights go on, turned on by Aristede, who is awaiting him. Quentin is furious his servant came here.  I had no choice, says Aristede--I had to come to you. You'd better have a very good reason, Aristede, says Quentin.  Angelique's at the mill, says Aristede, right now--she said she had to talk to him, and he told me to get out, I had to obey him or give it all away. That's the first sensible thing you've done in a long time, says Q. I wonder what she wants to talk to him about? says Aristede.  That doesn't worry me, says Quentin--what will HE talk to HER about? What difference does it make? asks Aristede--no one else has believed him, why should she?  Because she has a reason to believe him, says Quentin, looking like all is lost.

Mill - Petofi has finished telling Angelique everything--from the moment it happened until now. She looks at him compassionately--I do believe you, she says--but it's easy to see why others don't. One other person believed me, he says forlornly--Julia Hoffman, but before she could help, she disappeared. Yes, says Ang, Julia was sure something terrible was going to happen--stay here for now, but I will return for you--I can't tell you where I'm going. I'm afraid to stay here alone, he says. I can't stay with you now, she says, but you'll understand all when I return. Aristede went directly to Petofi, he says, and told him about your visit--I know Petofi said he doesn't want this body harmed, but he also said he'd kill me if I keep interfering--take me with you, he begs, hide me until you can help me. Yes, I suppose it is time that you knew the truth, she agrees. They hear footsteps on the stairs as they are about to leave--Quentin. Angelique greets him with a big smile--what are you doing here? she asks. Under ordinary circumstances, he says, I'd ask you the same thing, but then, these are not ordinary circumstances, are they? What do you mean? she asks.  You're really very good, he praises--while Charity was going on tonight, I kept looking at you for a sign, but your face was nothing--but the fact you came here tells me everything.Looking at Petofi, he says, "He has told you the whole thing, hasn't he?" (Chills!) Neither respond.  Petofi sits, nervous, and tells Angelique, there's no use denying it--he knows. Yes, I know, agrees a grinning Quentin--Angelique, you are the one who really loses-- "think of what you might have had--the mind of Count Petofi and the body of Quentin Collins--it's really quite an incredible combination--believe me, I know."  "I wouldn't care to," says Angelique icily, and moves to go. "You can't leave here!" says Quentin--you know that, don't you? "You can't stop me!" she says. I can, he says--how severe I have to be depends on you. Right in his face, she reminds him, "I am no ordinary mortal."  Nor am I, he says--you haven't yet felt the full power of the hand, my dear--and he holds it up like a weapon. You can't use its full power on me, she warns--I can resist it and you know it. That WAS true, but not now, he says. "IT'S STILL TRUE!" she cries--you can't keep me here!--good night, Count Petofi, she says, heading upstairs. Aristede stands there, waiting for her, a flaming torch held high. Petofi rises from his chair as Aristede backs Angelique, who seems to be gasping for breath, downstairs. I didn't come unprepared for you this time, gloats Quentin--you see, before you were able to devote all your energy and concentration on resisting me--you're vulnerable to fire, and while you're concentrating on that, it makes it impossible for you to resist the hand--he holds it up proudly, then, to her horror, reaches toward her and grabs her shoulder. She screams and falls to the floor, unconscious.

NOTES: Angelique plays the hero here, and we have a glimmer of hope for Quentin trapped in Petofi's body--but she has been bested, and that's very scary. She so rarely is a victim, except her own obsessions, and now she's unconscious and helpless. What will Quentin/Petofi and Aristede do to her? You had to love her brave march from the mill when she was stopped by Aristede and his flaming torch, and her face-off with PIQB beforehand. I think Angelique tied together what Charity claimed plus what she herself had observed of Quentin's new behavior--which she was willing to attribute to her being in his life.  One has to laugh!

It was very clever (and fun to watch) as Petofi bossed Aristede around, then threw in a slap for good measure. It was definitely the way Petofi usually treats him, but Aristede knows it's Quentin in that body, and hates being slapped by him. I was cheering!

How creepy that Charity knows something is wrong just by using her psychic powers. Now PIQB has a whole bunch of people learning the truth about him. What is he going to do about it, kill them all?

The verbal sparring between Angelique and Quentin, and tender scene between Angelique and Petofi as she learns the truth, were wonderful.  Charity and Quentin were no slouches, either in their wonderful back and forth dialogue, filled with accusations and denials. Selby/Barrett were outstanding, and so were Parker/David. These are some of DS' finest shows.

Love, Robin

860 - Edward catches Kitty in the act of trying to steal Q's painting. What are you doing here? he demands. Kitty, realizing how angry Edward's is, decides to try what has worked so well before--I'm not Kitty, she says--why do you call me that?--"I must find it, he'll be angry!" she cries. Who? asks Edward.  You know as well as I do, she says, then faints in his arms. Immediately awakening, she recognizes him, and expresses shock to learn she's in Quentin's room. Why does this keep happening? she asks--what was I doing when you came into the room?  You were searching the armoire, he explains--for what I don't know. Perplexed, she says, I want to go to my room. She's concerned about meeting Quentin.  He need never know, Edward assures her. I'd feel so guilty, she says--please stop asking me questions. He leads her out, assuring her, we'll pretend it never happened. Outside Q's room, he says, Count Petofi phoned you, right after you went upstairs; the clock was striking nine. Kitty is visibly shaken. Petofi will call back later, says Edward. I'm sure he will, says Kitty. Hidden behind the draperies is Quentin, who goes into his room and finds the painting gone, too. He frantically searches the armoire.  Downstairs in the foyer, Kitty tells Edward, I don't want to see Petofi if he stops by.  You won't have to, he promises--I'm telling Cook to brew us some tea. Kitty breathes a sigh of relief that Edward believed her--but what will she say to Petofi when he comes for the portrait? Then she hears Josette's music and goes to Barnabas' portrait, walking like a ghost. She struggles against the feelings, ordering herself, don't look at it. Hand to her head, her body begins to spin, near to fainting, when Angelique comes in and steadies her.  She offers to get Kitty a doctor.  No, says Kitty, it's just my nerves, all I've gone through--going to the rectory...Angelique, eyes huge, up on this instantly--why did you go there? She asks. Do you know the woman who lived there? asks Kitty. Why do you use the past tense? demands Angelique. Because, says Kitty, she's disappeared. What? exclaims Ang. Before Count Petofi's eyes, says Kitty--and before she can finish the sentence, Angelique is racing for the door. Wait! cries Kitty--you must tell me what you know! Angelique, however, is gone. Kitty looks at her reflection in the mirror, thinking Angelique knows more than she's telling--but how can a woman disappear?--and why do I do as I do, and not understand anything?--I must!  Her face takes on an expression of determination.

10:20 PM - Quentin tells Edward, I know you and Kitty were in my room--why? Edward doesn't want to answer, but Quentin insists. She had a seizure, says Edward--I saw it, too. And you believed it? asks Q.  Yes, says Edward--and I find your distrust of Kitty unforgivable. And I, retorts Quentin, find your trust of her equally upsetting. Oh, you do? asks Edward, you know how close Gerald, Kitty and I were! Do you know everything about them? asks Quentin.  Of course, says Edward.  With all of your information, says Quentin, do you know that shortly before Gerald Soames died, he was released from prison? This shocks Edward. You're mad, he says. No, Blackmoor Prison, says Quentin, convicted of a common jewel robbery.No way, says Edward--I don't believe it. You will, promises Q, I know all about Soames, I've made it my business to find out!  Edward looks uncomfortable.

You're a liar, accuses Edward.  Check and see, advises Quentin.  I wouldn't soil Gerald's memory, says Edward angrily. Do you want to hear more? asks Quentin. No--there was never a finer, more respected couple in England than Kitty and Gerald, and if you tell one person this insane and vicious story, I'll do everything I can to get you out of this house. Edward leaves to go into the servants' quarters. Kitty comes downstairs, wrapped in a black shawl. Edward stops her, upsetting her badly--I want to go for a drive. When he offers to go with her, she assures him, you've done enough.  He insists, but Kitty promises nothing can happen to her in a carriage. I know, he says, but...  Quentin interrupts, suggesting perhaps Lady Hampshire wants to be alone--I understand.  Kitty thanks Quentin and assures Edward, I won't be long. She leaves.  Edward frets--perhaps she overheard what we were saying. Don't worry, says Q, she didn't--Kitty simply had something she had to do--the eminent and respected Lady Hampshire is a woman of secrets, despite what you say. Edward looks at the door through which Kitty exited.

Blue Whale - Charity sits at the piano, playing the notes, singing her usual song. Kitty enters as Charity makes a mistake.  She stands and asks Kitty, have you come to see how the other half lives?--the crowd ain't arrived yet, but they're a jolly bunch when they do!...doing a bit of slumming? Kitty calls her Miss Trask, angering the blond, who asks, why do I have to keep "telling all you swells" my name is Pansy Faye? Kitty obligingly calls her "Miss Faye"--I want to talk to you, she says. Nothing to talk about, says Charity--"Us artistes have to keep practicing, you know." She begins to dance, bump and grind.  I'm sorry I disturbed you, says Kitty, but this is very tough for me, and...  Then why do it? asks Charity--I don't do things that are "difficult" for me. I'm doing this because I must, says Kitty--if I'm to maintain my sanity--the only reason I can confide in you is because YOU started this by telling me I'd find a music box, and it would cause my death--well, I found the music box that same night!  Charity gets in her face and says, don't blame me, I just say things, that's all. I'm not blaming you, says Kitty, but the music box played the same tune you hummed! Charity hums it again.  Kitty begs her not to. "I'm sorry, Lady," says Charity. Kitty says I've grown to dread that song because every time I hear it, I seem to think I'm someone else--there, I said it, now please help!--I didn't mean for it to come out that way.  She offers Charity a gorgeous brooch for her help, a diamond Zalria (?) Charity, entranced by the piece, asks, what do you want me to do? Take it now, says Kitty, and say you'll help me. "Whatever people say about me," says Charity, "I don't cheat--if I can do something, and then you want to make me a little present, that's up to you--but I don't get paid in advance for nothing'." You're very kind, says Kitty.  Charity bursts into laughter--I'm a lot of things, she agrees, but that isn't one of those I can boast about--I can't tell you why I act the way you do, I don't even know why I saw the music box, and that's the truth. Kitty asks, do you always tell the truth?  Yes, I don't like to be lied to, so I don't lie, answers Charity.  Kitty asks, do you work for Count Petofi?--if you do, it will mean he's responsible for all of this. You think he told me to think of the music box? asks Charity, laughing. They sit down together at a table. You've got it all wrong, says Charity. Who's doing it if not him? wonders Kitty. Sometimes, things happen, says Charity, no person can cause--spirits can reach us, touch us, torment us.Why? asks Kitty--why would a spirit do that to me? Charity asks, do you really want to find out? Yes, nods Kitty. There's a way, says Charity, a way of telling if it's the supernatural or Count Petofi. I'll do it, vows Kitty,  whatever it is. Tonight, midnight, I will come to Collinwood, says Charity. I will wait for you, says Kitty. You forgot something, says Charity--the brooch is on the table. Kitty retrieves the brooch and thanks her.

Quentin hands Edward a drink. One moment I'm furious with you, the next, having a brandy with you, says Edward--you really are infuriating.  This is the last of my bachelorhood, Q reminds him, and I need someone to drink with him--by the way, I'd like you to be best man, unless you prefer not to be. I would be delighted, says Edward, it concerned me that this marriage is to be a civil affair, in a court, without family, without Judith--I was concerned about what people would say. you will make it all quite respectable, remarks Quentin. I didn't mean that, says Edward. Angelique enters, obviously upset. My brother will be my best man, says Quentin. Edward says-- the train doesn't leave before tonight--how about a glass of champagne before it does?

Angelique impatiently fiddles with her hair. It's nice for you to suggest that, Edward, says Quentin--Angelique, what's wrong? Nothing, she says--I want to speak to Quentin alone. Quentin turns to Edward and say, "You know how we must humor her." Edward agrees and leaves the room. Angelique looks very distracted. Quentin asks, where have you been? I went for a long walk--to think, she says--I'm not going to marry you tomorrow, she says, and you yourself can easily see why not. No, says Quentin curtly, I don't!  (why does Petofi want to marry her--for the sex or control, possibly over her powers?--as IF!)  Nonsense, she says, you never wanted to marry me, I forced it all, and now I'm afraid. That's another human emotion I didn't know you had, he accuses. She looks at him, startled. Angelique, he says, I want to marry you--did I say something to make you change your mind? No, she says, harried, you didn't, but it's better to postpone the wedding--whatever the reason.  She leaves, not letting him say anything else. "Whatever the reason indeed," he says, angry.

Midnight - Charity tells Kitty, we will have a seance--it's the only way. On the upstairs landing, Edward asks, what's the only way?  A seance, she explains, do you mind if we invite a few spirits? He does, but Kitty says I'm the one who wants to do this; I must learn what's happening--please don't stop this.  I want to join the seance, says Edward--I've been through this much with you and it's affected me nearly as much as it has you--I will take part, he tells Charity. They go into the drawing room.  There must only be one light in the room, says Charity. She closes the doors; Edward brings a candle to the table. They all sit down. Our hands must touch, unbroken, says Charity, to form a circle of concentration--are there are spirits in this room?--we await a spirit who has a message for one of us. Kitty looks terrified. "A spirit that has been tormenting one of us," continues Charity--we wish that spirit to appear--come to us now, speak to us if you can, come to us and tell us what it is you want--let us help you! Kitty calls, "Edward," as the lights flicker.  Charity asks, is someone here, someone else?--if so, give us a sign. There's a knock at the door, very slow knocks. Someone is here! announces Charity. The candle goes out (audibly blown out by someone). Who blew it out? asks Edward. I feel a presence of someone, says Charity, of one who is trying to communicate with us. Who is it? asks Kitty. The doors blow open.  Kitty moans.Charity warns, don't break contact--remain seated--we must leave the way open for the spirit to appear to us. "Look in the doorway!" cries Kitty, pointing to a hooded figure standing there. "Who are you?" demands Edward.

NOTES: That's a pretty creepy ending there, folks, but the identity of the "spirit" will surprise many, including the participants of the seance.

We all know why Angelique postponed her wedding; she went to the Rectory, found Julia gone, and knew she had to take up the reins of the project Julia started. Ang is being such a good soul, it's hard to believe she's the same woman who put the vampire curse on Barnabas.

Love Charity/Pansy, she's such a hoot of a character. You've gotta love how she refuses to take Kitty's brooch, even though she's dying to!

I guess it would have been a tad suspicious if Quentin/Petofi asks Aristede to be his best man, considering how he tried to de-man him once with a sharp swinging pendulum. What could have and should have been a nice moment between the brothers was rendered not so because it was Petofi doing the asking.

Next episode, we welcome back a character who's been gone a while.


861 - Joan Bennett does the intro, so we already know that a long-absent character is back. (They sure do slather Charity with makeup, don't they?) The knocks we hear at the door during the seance are awfully slow for a human being, too.

Edward lights the candle and carries it over to the doorway--who is it? he asks.  It's Judith!  Edward is shocked to see her. I've come home, she says.  Edward tells Kitty (who almost seems jealous when she asks who the woman is), that's my sister, Judith. He sends Kitty to the kitchen for smelling salts. Charity hurries around, turning on lights, while Edward goes to call the doctor. Look after Judith, he tells Charity, whiles his sister sits on the sofa, staring at the painted, oddly dressed young woman. Why are you looking at me that way? asks Charity. Puzzled, Judith wonders--the way you're dressed, all the paint on your face--what's happened to you? Charity immediately corrects her--I am Pansy Faye, and nothing has happened to me, I haven't changed since Carl brought me to the house, nor have I forgotten how you treated me--wasn't good enough for you, was I? Edward enters--the doctor is on the way, he announces, then asks Charity to leave him alone with his sister.  "Whatever you say, Guv'nor," she responds, and flounces out. Kitty brings in the smelling salts; Edward says, given the circumstances, you can meet my sister later. Of course, agrees Kitty, and leaves the room. Edward closes the doors after Kitty, who is not looking at all pleased. Charity notices the expression on her face--what's the matter? she asks. I'm somewhat embarrassed, that's all, says Kitty--I should have realized it was his sister. Don't fret about it, says Charity, you've got lots of money, well-bred--that's all Judith cares about--I know her well enough, says Charity, who then apologizes for the poor outcome of the seance--I really did feel a presence, she says--I expect it was Judith popping in so suddenly that scared the spirit away--perhaps they can try again another time--I'm freezing, she adds--I always feel that way after a seance--I'm going to have a cup of tea. Kitty refuses tea, gazing at the double doors.

Judith assures Edward, I'm fine, I don't need a doctor. You almost fainted, he protests. Just the excitement of being home, she says. Why didn't you notify us you were arriving? he asks. I didn't know until this afternoon, when the doctors decided I was well enough to leave, she replies--I should have done it weeks ago, but no matter, I'm home, back at MY Collinwood--are you pleased, or were you counting on my being away longer? If I had my way, he says, you wouldn't have gone away at all--it happened so quickly. Yes, you made quite a point of telling me that when you came to visit me, Judith says. I meant it then, and do so now, he says. I believe you, she assures him--where is my husband?  Edward is puzzled--didn't you two return together? No, she says, I came alone. I assumed he brought you back and was out putting the carriage away, says Edward. Don't look so startled; she says, it's not the first time you've made a wrong assumption. A logical one, corrects Edward--Trask left last night to go see you, and hasn't been seen since--hasn't he seen you? I was confined to the sanitarium for four months, says Judith, and Gregory didn't come to see me once!  (Where were you, revvy, being a bad boy, and whose bed were YOU sleeping in?)

Edward is stunned--this is unbelievable!  I'm not making it up, says Judith. Trask went once a week to visit you at the sanitarium, explains Edward, and stayed overnight every time. Judith is furious. Edward asks, is it possible you didn't recognize your husband? No it is not, she responds indignantly--are you suggesting I wasn't in my right mind while there? Not at all, says Edward, but you surely weren't yourself those last few weeks, we both know that. At no time during my stay at Rushmore was I not in complete control of my faculties, says Judith angrily--I recognized you when you came to see me!  I didn't mention not seeing my husband, she says, because I was ashamed, and hurt, but I'm sure Gregory has a satisfactory explanation for this.  No, this is unforgivable! harrumphs Edward.  Judith refuses to pass judgment until she speak to Gregory. There's nothing to be said, Edward insists; he's obviously been lying all along! The subject is closed, she says. The family is no longer in danger from Barnabas, reveals Edward--he's dead. Judith's eyes widen.

In the foyer, Kitty is staring at Barnabas' portrait. Petofi comes in--I'm glad to see your mind is occupied with portraits, he says. She gives a nervous start. So is m9ine, he says, but it's Quentin's portrait that interests me--I told you to get that portrait by nine, and it's past that already. I tried, she says, but she was caught by Edward--we can't speak here, we'll be overheard--Edward is in the drawing room, talking to his sister. Judith? asks Petofi. You don't know her, do you? asks Kitty. Only by reputation, says Petofi--let's not stray from the subject, I want the portrait--try again. I talked my way out of that room once before and won't be able to do so again, she insists. My dear lady, he warns, holding up his magic hand. You can do what you want to me, she says, but I can't get the portrait from that room, and that's all there is to it. She leaves him and goes upstairs. Petofi decides Judith is my answer and starts to open the double doors, then stops, realizing she'll never believe what's happened to him--I must think it over very carefully before speaking to her.

Kitty, shaking, agitated, goes to her room. She finds a note on her dresser. "Know yourself, be who you must be," it says. She hears Josette's music playing and finds the music box open on her desk. She looks at the trunk at the foot of her bed and opens it, pulling out a white wedding gown.  She sees Barnabas' face flashing before her as she holds it against her, smiling luminously. The music plays.

Down in the foyer, we see Barnabas' portrait. Judith asks Edward, doesn't anyone have any idea why Charity thinks she's Pansy Faye?  I think it's a spell Barnabas put on her, says Edward. The spell should have ended when Pansy killed Barnabas, says Judith. I would have thought so, agrees Edward, but obviously not. And no one tried to help the poor child? Chastises Judith-just sat idly by, let her leave Collinwood to lead a cheap, tawdry life?--get Charity for me, demands Judith, I hope to succeed where you have failed. She looks happily, possessively around the drawing room.  Charity comes in and brusquely asks what Judith, what do you want with me. To talk, says Judith--sit down. They both do. I wasn't good enough to talk to when Carl first brought me here, complains Charity. I think I have the only understanding of what's happened to you, says Judith.  Nothing, insists Charity. Listen, please, says Judith, now that I'm back, the house will be run differently, and I will be a good and proper wife to your father. Charity looks at her, surprised--"My father!" she laughs--that would be some trick, considering he's been dead a long time. I'm speaking of your real father, Trask, says Judith. "That old crow that lives here?" asks Charity, making a face--I'd take my own Bertie anytime; whatever his faults, he could be tender, she says, give a smile now and then. Mr. Trask is your father, and I'm his wife, says Judith--and I cannot in good consciences allow you to go on living in town the way you have been. "You can't allow it?" asks Charity sarcastically--"YOU'VE got nothing to say about it!!!" I'll send a servant into town to pick up your things, says Judith. Hold on a minute, you have no right to decide what I'm doing in my life--"And I won't let you do it!" blares Charity.  "What would your mother say if she could see the kind of life you're living?" demands Judith. My mother? asks Charity softly.  Judith continues--your mother was a God-fearing woman who brought you up to be a lady--how would she react to the dress and paint?--how would she like you to walk in singing your cheap little songs?Charity is chastened--why did you have to go and bring up my "mum" for?--"I don't like to think about it." You wouldn't want your mother to see you now, says Judith.  "She always wanted me to be a very respectable lady," says Charity, near tears. And you could be in time, says Judith, if you return to Collinwood. Why do you want to do this for me? asks Charity.  I feel I owe it to you, says Judith. Because of the way you treated me when I first came? asks Charity. Think that if you wish, says Judith, I think this is where you should be. Charity says wistfully, it's a lovely house, and I remember saying so to Carl when he brought me here--he was so excited and proud, showing off the place to me...   Then you'll come here and live? asks Judith. Yes, I will, agrees Charity.

Edward knocks at Kitty's door--I want you to meet Judith now, he says. No answer. He finds the door locked. The door opens shortly after he walks away.  Kitty, dressed in Josette's wedding gown, emerges, looking absolutely stunning.

It's storming.  Judith looks out the drawing room window, pleased to be home. Petofi comes downstairs and introduces himself to her as Count Andreas Petofi. I heard Edward speak of you, she says. He kisses her hand and asks, is it possible we've met somewhere before? I don't believe so, she answers. How extraordinary, he says, I had conceived an image of you before tonight, and you correspond in every detail--I imagined the beauty of your face exactly as I see it now.I'm flattered, she says, grinning, a bit embarrassed. I wonder if that may mean you are a person who would understand me as few others do? he asks--when I was younger, I discovered I had certain psychic powers; most people don't believe, or laugh at my claim, which is why I rarely discuss my powers with anyone--give me your hand...I see a room in this house, a nursery, a child, with her, a governess--the governess has just mistreated the child. The child retaliates by biting the governess on the arm--the child is Judith, the name of the governess is Angela Stone. Judith is amazed--an incident like that really did happen in her life. Should I go on? he asks.  Please do, she says, intrigued.

Edward is still looking for Kitty, searching her now-empty room. He finds the note on the dresser that says "Know yourself--be who you must be." He returns it to where he found it and leaves.

"During the funeral, you never cried once," says Petofi to Judith, still holding her hand. After your parents were buried, you went to your room, locked your door and wept bitterly. What you didn't know was that your brother Quentin was already in the room. He caught you crying, and that was unforgivable--he saw a side of you you'd never allowed anyone to see--perhaps that's why you always got along so badly. You're extraordinary! says Judith.  You are most cooperative and charming, he says--I hope we'll become great friends. I'm sure we shall be, says Judith--and you are to feel at home at Collinwood.

Kitty comes walking downstairs, Josette's music playing. Her white gown is covered by a red cape. Petofi greets her and asks, have you met Edward's sister? "He's waiting for me," says Kitty in her Josette voice--"I must go to him."  And she walks right past him, even as Petofi calls to her, and exits the house. Who is that woman? asks Judith--she was with Edward when I arrived. It's Lady Hampshire, says Petofi--her late husband was a friend of Edward's, and she's taken the death rather badly. "Did she say she was meeting someone?" asks Judith. Yes, he says, and I want to go make sure she's all right.

Widows' Hill. Kitty drops the cloak from her shoulders and gazes out over the ocean, smiling. "I've come to you," she says, "I could not stay away...I had to see you one more time, just one more time, I had to see you. Please, come to me, let me see you." The ghost of Jeremiah appears, his face bandaged.  She screams as he reaches out to touch her...

NOTES: Why does Jeremiah come back now, to warn Kitty/Josette? Funny how Kitty seemed to think Judith was perhaps a girlfriend of Edward's, wasn't it?

So who has Trask been visiting when he was supposedly at Judith's side?  Bad Reverend T, do you have a gal on the side?

Sweet of Judith to offer Charity her home back.  One wonders if Pansy, in Charity's body, has had a raft of gentleman callers who have taken Miss Trask's virginity?

Love, Robin

856 - Quentin is asleep in the drawing room when Peotif's eyes roll up his head, his concentration intense. Quentin! cries Beth--they're trying to d something terrible to you--you must wake up, before it's too late!--you've GOT to wake up!  Could it be too late? Wonders Betn--no, it's impossible, you're in a trance of some kind, whatever Petofi's trying to do hasn't happened yet--or has it? She takes Quentin's hand and presses it to her face.

Fish-eyed Petofi wakes up, holding his head as if in pain. He sinks to his knees, then collapses on the floor, unconscious.

Quentin awakens.  Beth is thrilled--I was afraid you wouldn't regain consciousness, that Petofi had succeeded. He looks at her oddly.  Are you all right? she asks--speak to me!  He looks calculating, then says, of course, I'm all right. Thank God, she says. I must have dozed off in the chair, he says. No, it was more, much more, she says--I don't know exactly, but Petofi was trying to do something hideous to you--I was there when he was telling Aristede, and then Petofi went into another room to perform some sort of ritual. And this was supposed to have some sort of effect on me? asks Q. Yes, she says. Do you know exactly what? He asks.No, says Beth, I asked Aristede, but all he told me was that I should imagine the most horrible thing that could happen to a human being, because that was going to happen to you. Quentin rises--did you come here to save me? he asks.  Yes, she says. You don't hate me anymore? he asks. No, I never did, never could, she assures him, no matter what happens--if I had killed you that night, I'd have killed myself, too. Q reminds her--Petofi saved me that night, so we are both in his debt. No, she says, you owe him nothing, and neither do I--he's an evil, foul man, and I hate him! Do you? asks Q.  Yes, she replies. I'm very grateful to you, says Q, I don't know how I could be so wrong about you--even though I didn't have any other choice, I don't know how I could have let another woman come between us. She's thrilled--do you really mean that? Yes, he says, and kisses her with large, wet passion, holding her tightly--now I want you to meet me at the cottage later tonight, he says--until I resolve some things with Angelique, it's better we aren't seen together, but I want us to discuss OUR plans together, later; we're going to be together again, he promises. Beth, ecstatic, says, I love you. I love you, too, he says, going for another kiss with gusto--meet me at the cottage at 3 o'clock; I'm going to find Angelique and talk to her at once. Beth looks like she could fly, she's so happy.

Magda is waiting at the gazebo when she hears a rustling sound. It's Quentin, who asks what are you doing out here? She anxiously asks, are you all right?  I am, he replies, rather curtly. I was worried, the way you were behaving, she says, I came to talk to Petofi, but I can't get in, the mill is locked. You haven't seen Petofi, then? He asks.  No, she says. He smiles--I'm fine, he says. But something did happen before, she you were like a crazy man. All over now, he says, in fact, I feel like a new man--I'm going to the mill--unfinished business with Petofi--do you remember seeing the ring?  I don't understand why you're still wearing it, she says. Nether do I, says Q, and I'm returning it. Don't go in there, she begs, something bad is happening, I felt it all night--don't go to see Petofi.  "That's impossible," he says, but I'm not afraid of Petofi--not anymore.

Petofi lies on the floor, his glasses have fallen off his face, so when he comes to consciousness, and everything is blurry. He stares around himself, confused, his vision near blindness. He reaches out blindly, pushing aside the glasses. Aristede enters.  Who are you? asks Petofi--what's happened to me?--what are you gonna to do me? Aristede picks up the glasses--"I'm going to help you," he says.  Who are you? asks Petofi. Put these on, says Aristede, handing him the glasses. Petofi does so and recognizes Aristede. At your service, the other man says.  What am I doing here? asks Petofi--how did I get here? You've been here all along, says Aristede. "Is this one of his rotten tricks?" demands Petofi, grabbing for Aristede's lapels--I'll make him tell me!  Then Petofi notices his hideous hand. (Someone sneezes loudly in the background.) He holds it up, asking hysterically, give me a mirror!  Aristede laughs at him--there's no mirror here! "Aristede, for God's sake, tell me what he's done to me!" cries Petofi.  The other man just laughs. Someone else is laughing--Quentin, standing in the doorway. "My boy," he says, "we must get you a mirror." His eyes are filled with mirth. He holds up a mirror in front of Petofi. "Oh, NO!" he moans. Yes, says Quentin--yes, you know, there is an essential difference between us--your mind is having great difficulty adapting to your new body, while mine is making the transition with incredible ease--how exhilarating is it to be young and handsome and so full of energy again. Say something--Quentin Collins!" "I don't believe this is happening," says Petofi, "it's a nightmare." "Oh, but it is happening--Quentin, your mind and spirit are now in the body of Count Petofi--my mind and spirit are in the body of Quentin Collins--how does it feel to see yourself enter a room--sort of like seeing yourself step right out of a mirror, isn't it? Quentin admires himself in the mirror. "How did you do this to me?" demands Petofi--"WHY?" A very fair question that deserves an honest answer, says Quentin--I'll be needing this body because it's the answer to all my problems--my key to the future--I've learned without a host body to inhabit, only one's essence can transcend time, so for me to go to the future, I need a host body awaiting me--and this is the host body. How can that be? asks Petofi, I belong in this time, not the future. It may interest you to know, says Q, that Quentin Collins is alive in the year 1969.  Impossible, insists Petofi. No, I made is possible, says Quentin--the portrait Tate painted of you not only ended your curse, but gave you--or should I say me--immortality! Quentin simpers--this body is not only alive in 1969, but still looks as it does now. He lights a cheroot in a candle. "You are a fiend," whispers Petofi--"A monster!"  You must get used to the reality of this situation, insists Quentin --I am not Count Petofi, I am Quentin Collins--YOU are Count Petofi!"   "I AM Quentin Collins!" wails Petofi. Aristede, says Quentin--look at this man and tell me who he is. Count Petofi, answers Aristede, anyone would know him. Of course, says Q, smoking his cheroot--"You might have the idea that you can scream the truth to the world, but believe me, they'll only think you completely mad." Petofi, holding up the withered hand, asks, have you forgotten one thing--the power of the hand--Ie can make you undo what you did!  He grabs Quentin around the throat. Stay where you are, Aristede, orders Quentin, easily forcing Petofi's hand away from his throat. He pushes the old man onto the couch, asking, "Do you think I'm fool enough to leave the power of the hand in THAT body? No, my boy, I do think of everything--the power of the hand is with me! And speaking of the hand, I am going to return this ring to you, because if I do go on wearing it, people will get curious, perhaps even suspicious--it has served its purpose. He hands the ring to Petofi. I trust you shall wear it in good health. "You can't do this to me, you can't," pleads Petofi. "I already have," says Quentin, and before I send you out of here, there's one more thing I'm going to do--I want you to realize it's futile and useless to try to fight--Aristede...  The latter steps forward and pulls the glasses off Petofi's face. "Aristede, please don't take my glasses," begs Petofi, "I can't see without them." He pleads for the glasses back, but Aristede plays a cruel game of keep-away with them, holding them out of Petofi's reach as the elderly man tries to follow him, calling his name over and over. Defeated, exhausted, Petofi leans against a wall. Quentin, cigar in hand, leans next to his ear and says, softly, "Now, will you be quiet and listen to me? Now do you realize how vulnerable you really are?" He holds the cigar as if to set Petofi's beard aflame. "Now, I would suggest that you do not interfere in my plans." Petofi asks, "Why don't you kill me now?--it's useless for me to go on living, why don't you kill me, get it over with"  I can't do that, says Quentin--the body you are occupying is also part of my plans. Aristede hands the glasses to Quentin, who returns them to Petofi. The humiliated old man puts them on.

Petofi leaves the mill, wiping his mouth with a handkerchief. He runs into Magda--I'm glad you're still here, he says.  Where is Quentin? she asks--why hasn't he come out yet? Something terrible has happened, he reveals.  Have you done something to Quentin? she asks. I must talk to you, says Petofi--I AM Quentin--Petofi did do something, so horrible I can't understand it yet--he switched the minds of Quentin and Petofi!I never heard of such a thing, insists Magda--it's one of your trucks. "I'm telling the truth, Magda!" he declares, advancing toward her. She orders him to stay away--you are Petofi, you look and sound the same, I can even tell you think the same--you're fooling me, I won't listen! And she runs off, leaving him sad and bereft.

You're curiously silent, Quentin tells Aristede--did my display of power fail to impress you? No, I was very impressed, Aristede assures him, but about the future--how do I fit into it? When the time comes, you shall gain the sight--says Q, until then, we won't discuss it.  Aristede agrees. We have things to do, says Quentin, we must leave.

Petofi returns to Collinwood. We heard Quentin's voice, saying, "I can't go in there now. I can never explain what has happened, no one would believe me! He was right--people will think I'm insane--I've got to go somewhere else, think this thing out..."

Cottage - Beth enters Quentin's love nest and turns on a light. She hears a sound and sees Petofi emerge from the bedroom. She wants to flee from him.  I must speak to you, he insists. I don't  want anymore to do with you, she says.  I must tell you something, he says, you'll find it hard to understand, but you must believe me--because it's true. She's nearly hysterical, thinking he came here to kill her because she went to Quentin. I don't want to harm you--just let me talk to you--I need you--something terrible has happened! Quentin enters the cottage.  Beth runs into his arms, so glad he's there--when I came in, Petofi was waiting for me!  Stay away from him, Beth! warns Petofi.  Take me away from here now, Beth begs Quentin. "He's not Quentin, I am Quentin!" blares Petofi as Beth huddles close to the man she believes to be Quentin. "He did something tonight, cries Petofi--I don't know what it was, but I know he did it because I know that I am Quentin--the mind in this body is the mind of Quentin Collins, just as the mind in that body is the mind of Petofi! I see and feel and think as Quentin Collins, you must believe me, Beth, he's the one you should be afraid of, not me. You're in danger with him!"  Beth doesn't get it.  I don't, either, says Quentin, but I'm beginning to understand that the mighty Petofi has finally fallen victim to his own evil!--he's gone mad, he's completely deranged.  Believe me, Beth! Petofi begs, I know what I'm saying!  Do you believe him, Beth? asks Quentin. It's too fantastic, says Beth. Of course, agrees Quentin, he's lost all of his powers, he's nothing but an old, harmless man. He grins cruelly. The Count Petofi we know is gone," says Quentin, "as we once knew him." He leads Beth out of the cottage as Petofi again begs her not to go with him. "HE IS PETOFI, I AM QUENTIN, I AM QUENTIN, I am Quentin..." And he bows his head, knowing it's futile.

NOTES: Great acting on the part of everyone. This is going to get confusing, but I'm calling everyone by the names that match their bodies, so Quentin will be Quentin and Petofi, Petofi, otherwise, I will go mad! Pretty ingenious--and hideous--idea on Petofi's part. Who'd want to find oneself in an old man's body? I was also thinking how Beth is going to make love to Petofi in Quentin's body--will it be different enough for her to say, "Hey, this isn't Quentin!" As Petofi goes around trying to convince a lot of different people who he is, it's going to get quite interesting. Excellent show, full of suspense and drama.
              

857 - Intro: . . .Trapped the mind of Quentin in his own ungainly body (what a mean thing to say about Thayer David)!

Quentin, standing outside the doors of Collinwod with Aristede, contemplates with satisfaction (in Petofi's voice) how beautiful the place looks through my new eyes. Don't go in there, begs Aristede--what if you make a mistake? They'll only think Quentin drunk again, says Q--distracted by all his women. (see how Petofi turns Q's excesses against him?)  He grins at the thought.  Perhaps you're too confident--one mistake too many and they'll know who you are, warns Aristede--perhaps we should go to the future immediately.  You know I can't without the right hexagram, Quentin reminds him--I have to keep testing for the right hexagram. I have it narrowed down, and plan to send someone through the door, through the darkness, tonight--how about you, Aristede? Quentin suggests--yes, I think that would be an excellent choice. Aristede, apparently not agreeing, looks horrified. Why so pale? asks Q--I thought you were anxious to go to the future. If it were the wrong door, blathers Aristede nervously, I'd hate to think of Your Excellency managing without me. You're just afraid, says Quentin.  Are you joking? asks Aristede.  Yes, says Q, to A's great relief--you're too valuable to me to be risked--you won't have to go through the I Ching tonight, but find someone else in two hours and bring that person to the cottage. I'll find someone, vows Aristede, and make sure the cottage is clear; no one will come around while we are entertaining our new friend.

Quentin enters Collinwood slowly. In the drawing room, Edward and Trask are arguing. How dare you talk to me like this? shouts Edward--I'm not one of your schoolchildren! It's the ledger that is talking to you, says Trask--it says in black and white that each person who stays in this house adds big expense to the household, especially someone with such refined tastes as Lady Kitty. Blast your ledger, shouts Edward, you can't run Collinwood like a boarding school! I can when it's MY money that's being spent! shouts Trask. Edward retorts--the money is still Judith's, I will thank you to remember. And I have her power of attorney--I will thank you to remember THAT! roars Trask. Edward pulls open the double doors. Quentin is there.  Come in, urges Edward--explain to this "gentleman" about Collinwood's tradition of hospitality. Yes, tell me about it, says Trask, I'm sure Amanda Harris would like to hear about it. Why should he be concerned? asks Q, about what Amanda likes or dislikes? How insensitive you are to the feelings of other people, accuses Trask. No, says Q, reaching for a drink, I've merely found that others are quite capable of taking care of themselves. See here, Quentin, says Trask, grabbing his elbow, are you going to pretend it never happened? Quentin turns on him, a look of sheer rage on his face, and says, in a dangerous voice, "I abhor people tugging at my sleeve!"   "And I abhor you," retorts Trask, "for the way you treated that girl!--I dissembled, I stole, but it was for a good cause, and I am not ashamed." I'm sure it isn't the first time you've stolen or lied, says Q--so why get so excited about it now? Amanda's salvation is important to me--can you understand that? demands Trask.  Quentin grins, quaffing his drink--yes, I understand. Trask informs him, "I was the one who took your note, I kept her from meeting you, I did everything in my power to stop her, to protect her from you until the last moment I saw her."--what's the matter, Quentin, you seem different somehow. Perhaps it's because Amanda's out of the house and you just THINK I'm different, suggests Quentin, but don't be a fool, Trask, I am the same, let me assure you. Words, just words, says Trask, but Edward is paying very close attention to this exchange. They do not alter my shock at your lack of concern for poor Amanda, says Trask--I wish she could hear you now--she thought you cared for her, but I was the only one who cared for her, who could of helped her--you are incapable of loving or caring for anyone but yourself! Quentin adjusts his cufflinks and asks, are you quite finished?--if you are, please get out. "Yes, I'm finished," says Trask, "and in my loss, triumphant, because now the world can see the truth about you, the truth I have always known--that Quentin Collins is the most callous, heartless womanizer I have ever known!" He turns and leaves. Edward is staring with furrowed brow at Q, who asks what's the matter?  I don't know, answers Edward--you tell me. I'm terribly concerned about Amanda, says Q, but why should I expose my heart to Trask? No, says Edward, it's not Amanda, something is different about you--what's wrong--Quentin, tell me what's the matter.

A dejected Petofi sits in the cottage. Aristede enters--get out, he orders--it's Collins property--don't tell me you're Quentin, I have too much to do to listen to the babblings of a crazy old man. I could kill you! threatens Petofi.It's as useless to go around threatening people as to insist you're Quentin, taunts Aristede--now get out! Petofi refuses.  Aristede grabs him from the chair and tosses him toward the door--you're soft from easy living! He jeers. Where is he now? asks Petofi.  Collinwood, says Aristede--why, do you intend to go there shouting that he isn't Quentin? No, says Petofi, sooner or later he will say something, make a mistake, and someone will know he isn't really me!  Aristede laughs--he won't make a mistake!--it may be your body, but remember, it's his mind, and he's a lot smarter than you are. We have a split screen comprised of Petofi and Quentin for a few moments.

Something was bothering me, says Quentin, and after listening to you and Trask, Edward, I realized what it was--Trask is insufferable!--he's like some medieval torture machine, some grim punishment pressing down on all of us, squeezing the life from this family!  I didn't know you had such a way with words, remarks Edward. Trask inspires me, says Quentin, and I won't take what Trask says. It's not just life he's squeezing out of us, it's money, says Edward. We must do something, insists Q. There's a way of dealing with Trask, says Edward, and I think I may have found it.

Yes, brags Edward, I think I found a very effective way of dealing with Trask--don't you want to know what it is? You know I would, says Q. "I shall marry Lady Hampshire," says Edward--she's a very charming lady.  Quentin is shocked.  She also has other assets as well, adds Edward--she's very wealthy--the Hampshire holdings take up half the county--what's wrong, Quentin, don't you approve of my plan? Quentin points out, the recent death of her husband just might stand in your way. I worried about that at first, admits Edward, but now I feel she's drawn to me, and things are going well. (Such irony here, each thinks the other has money, and neither does.) Quentin agrees--Kitty is very interested in you. It takes money to be master of this place, and I think Trask's days of being master are coming to an end, says Edward. So do I, agrees Quentin, looking quite pleased about it.

Dock - A lady of the evening, slugging booze straight from the bottle, drinks and wipes her mouth in a most unladylike manner. Aristede grabs the bottle from her and tosses it in the trash. Hey, I worked for that, she protests. Forget it, I'll get you champagne, promises Aristede. She's impressed--no one ever told me I was a champagne girl before (dock slut fits better). You've never met anyone like me before, says Aristede--I'm not like the other men in this town. He touches her chin in an intimate manner.  I'm pretty new here myself, she confesses.  Then we'll have to really celebrate your arrival, says Aristede. Where are we going? she asks.  It will be a night you will never forget, Aristede assures her. They walk off, his arm around her.

Petofi comes to Collinwood and enters the drawing room, where Edward looks over the ledger.  I'm sure Edward will believe what I'm telling him, muses Petofi, no matter how incredible itsounds--he's known me since birth, he must know me now--Edward, my brother. Petofi enters the drawing room.  Edward greets him kindly and offers him a nightcap. I must speak to you, says Petofi--something's terribly wrong--I am Quentin, he says--do you hear me?--I'm Quentin, forget the brandy. I assure you, if you were Quentin, you wouldn't forget about the brandy, says Edward.  It's not a joke, insists Petofi. When you say something so patently absurd, how can I take it as a joke, and not a very funny joke, especially considering what's been happening around this house? asks Edward. You know what happened here, he says, and you know Petofi was responsible.  Edward sits down with his drink and says, I know I suspected you, but time proved that what happened at Collinwood was Barnabas' fault. No, it wasn't Barnabas--it was Petofi! insists the other man.  Edward is confused.  It's not confusing, says Petofi--it's diabolical--listen, please, you must, Petofi has stolen my body, and left me trapped in his--Petofi's mind is in my body, just as my mind is in his body--do you understand who I am, don't you know who's talking to you? he asks desperately. "You are Petofi," says Edward, drinking. No, says Petofi, I look like him, sound like him, but behind the face and voice is the mind of Quentin Collins--Petofi has taken my body, he says, gazing at himself in the mirror--if I can't get it back, the entire Collins family will be in danger now and in the future--do you understand? Go home, advises Edward. I'm NOT mad, please listen--Petofi is terrified of the gypsies, they've been his downfall before now and will be again unless he can escape. And he plans to escape in my body--I know it's difficult to believe, but do try. Where would he go in Quentin's body? asks Edward. "MY BODY!" corrects Petofi.  Edward continues...that he can't go in his own? To the future, says Petofi, "to 1969, because, you see, I am still alive in 1969!"Edward looks at him like he's totally whacked.

Cottage - Quentin brings the I-Ching wands and sets them down on a table. Aristede enters with Wanda Paisley--who is joining us tonight. Why didn't you tell me you had a friend? asks Wanda--I don't mind another participant, she smiles, as long as there's champagne for Wanda. She reaches for the I-Ching wands and asks, what are these? Quentin grabs them away from her--they are going to be used for a little game we're going to play, explains Quentin. Oh, games first? She asks--what's the point in that? I like games, says Quentin. I do, too, says Wanda, depending on what happens in the games (if you know what I mean). They smile at each other. Wonderful things are going to happen in this game, says Quentin. I wish you had told me about this, Wanda tells Aristede. Why? asks Quentin, I can assure you you'll be very well paid for all services rendered. She agrees with him--that's what counts! Sit down at the table, says Quentin, I will explain all.

Edward is skeptical about Petofi's claim that Quentin is still alive in 1969--I think I'd better call the doctor. No doctor, insists Petofi, grabbing Edward by the shoulders, he'll think me mad, and that would suit his plans perfectly, to have me confined where the gypsies could get me!--please, don't send for the doctor! Get hold of yourself, says Edward, promising not to call the doctor--I think you had better go home--and leads Petofi to the door. Believe me, please help me! begs Petofi. I promise to help you in every way I can, says Edward--go home and stop talking about these aberrations of yours--you're only hurting yourself. Petofi looks around the foyer before silently going (very sad to see him kicked out of his own home).

Quentin tells Wanda, it's very important that you tell me what you see on the other side of the door. She refuses to do it--sounds cuckoo, going through a door that ain't there! But it is there, says Quentin, it's all in your mind. There ain't no doors in my mind, she says--skip the champagne, I'll leave without it. She starts to leave, but Aristede detains her. Quentin holds out his hand and touches her throat--I'm quite sure you will reconsider, he says--come here where you belong and sit right down. She does so, docilely, takes the wands from Quentin and throws them. He sets up the Tai Kwon hexagram, that of vigor. Concentrate, he orders Wanda, on your mind, and nothing else--that is your only reality, your only need... The wands spin.  Wanda falls into a trance. Someone knocks at the door; Quentin orders Aristede to get it. Wanda's in a trance, says Q, nothing will disturb her now. Petofi, at the door, shouts, you must not find a way to the future--I won't let you take my body! Aristede grabs him and punches him in the face. That's enough, says Quentin, pulling Aristede away Petofi--don't kill him, I still find that ungainly body very precious--lock him in the back room.  Aristede does, none too gently. Wanda moans in her trance, not in a happy way. I see it, she says, I see it!--the door opened.  Go into it, orders Quentin. No, she says, I don't want to, it's dark. Do it, and tell me everything you see, demands Quentin. A pair of skeletal hands reach out for Wanda, who screams. She sees a laughing skull with bulging eyes. She screams and screams, terrified, as the entire skeleton grows larger, looming closer.When we return to the cottage, all that's left in Wanda's chair is a skeleton, adorned in her hair and clothing. Good God, what happened to her? Aristede asks.  Quentin, terrified, says I don't know--anything is possible beyond the I-Ching door--anything. And the camera focuses on dead Wanda, who never even got her champagne.

NOTES: Whoa, baby, would Barnabas and Julia have used I-Ching if they had known they might end up like poor Wanda, a good time girl who only wanted champagne? She seemed quite willing to be part of a threesome with Quentin and Aristede, but she ended up dead, her skeleton wearing only a wig and her tacky clothes. What a lousy way to go, LOL! Is Quentin/Petofi planning to kill 60 something more people before finding the right hexagram? He should have just forced Julia to tell him the one he needs.

It's pitiful to watch Petofi try to tell Edward--anyone!--who he really is. You'd have thought Edward would be more receptive, considering he noticed something odd about his brother. Someone is going to have to believe him, but who is it going to be. Kudos to Thayer David for an amazing performance, and jeers to the unfeeling producers who twice refer to his body as ungainly.

Interesting, too, to hear that Edward is almost as calculating as Kitty--he's going to marry HER for her money! Ironically, neither of them has any wealth of their own, so it would pretty much be two paupers getting married. How ironic that is! Edward has apparently been putting on an act as much as Kitty has--yet he seemed so sincere!

Now, who will believe poor Petofi--er--Quentin?

Love, Robin