854 - Quentin surveys the ruby ring on his hand, thinking, I don't want a new life from Petofi--but I can't wrest the ring from my hand, no matter how much I struggle!

Old Mill - Petofi sits in a chair, looking as if he's expecting someone. Aristede enters and turns on a light, then starts to take a drink. No wine, warns Petofi, because tonight will be the most important night of our lives, more important than the night we arrived at Collinwood, or the night I found you shivering with cold on the embankment in London--more important even than the night I found this (his hand). Aristede notes, your ring is gone.  You're observant, says Petofi--what would I do without you?--tell me, Aristede, you are so fascinated by clothes--what do you think they will wear in the time I'm going to?--Julia Hoffman showed up in that obscenely short skirt, but I find it hard to believe men's clothes will be in such bad taste--I must have Beth tell me exactly what Quentin was wearing in the future. You can still ask her, says Aristede, if you trust her  answers. The future, exults Petofi--I've lived for 150 years, and for a hundred of them, lived in fear of the gypsies--but in the future, we shall be free. Aristede picks up the wine bottle again--we should celebrate, he says.  Petofi takes it from him--I want none of your usual bungling, he warns--and drops it on the floor, where it shatters. Aristede is surprised by this gesture. Everything must be perfect, instructs Petofi, what I am doing tonight will require intense concentration, and he can't afford to worry about you, who has a most important part--soon I will have a visitor who will ask many questions, and I will want to know how my plan is working, then I'll want the interruption I've planned--I will say a certain word, and when you hear it, you will come from that room--the word will be "unknown," because my new life will be just that--unknown. Aristede asks--what will my fate be when you go into the future? You will follow me, explains Petofi. HOW? cries Aristede. Quiet, demands Petofi--he's just about to leave Collinwood, now I will find out if my plan is progressing, if I've been powerful enough to...SHE has stopped him from coming, exclaims Petofi, furious.

No, of course you think me mad, Kitty tells Quentin--what else could you think, seeing me talking to that strange woman at the rectory?  Quentin, wearing his cape, looks away. Why did I go there, what was I after? she demands. Kitty, he says soothingly. You heard what I said to her, now tell me! cries Kitty. You were looking for someone, and it was some kind of aberration, says Q.  TELL ME! she shouts. "Barnabas Collins," admits Quentin. Josette's music begins to play.  Kitty goes to look at the portrait on the wall, wondering--why was I looking for a man I only met once--a dead man?  He touches her shoulders; she spots Petofi's ring. Have you always worn it? she asks. No, he says. Good, if you had, I surely would have thought I was losing my mind, she says. Quentin gazes at the ring and asks why. My husband, she says, wore one very much like it, once--exactly the same! Can't be, objects Quentin. No, of course not, she agrees, calmer, that wouldn't be possible. Quentin asks, do you happen to know Count Petofi? She repeats the name and says no--why? I just thought you might have met him, he says. I'd remember, Quentin, I never forget names, she says--never!  He looks at her, surprised by her vehemence.

Old Mill - Petofi tells Beth, it's good you're here--tonight, you'll see things you'll never forget--I must go meditate until our visitor comes--every moment is too precious to waste. He goes into the other room, leaving Beth and Aristede alone. She asks what's happening.  Aristede, looking peacock-proud, refuses to tell her. What am I about to see? she presses. Something that should amuse you very much--it concerns Quentin Collins, says Aristede. She smiles evilly--what's going to happen to Quentin? she asks.  Take my advice, says Aristede--don't ask!
I want to know, insists Beth--won't I enjoy it more if I know what will happen? If His Excellency would have wanted you to know, he'd have told you himself, boasts Aristede--"Not ME!" She gives him a dirty look.  (They remind me of squabbling siblings.) Petofi sits in a chair in the room that once held Barnabas prisoner, only a lamp inside. Aristede enters, kneels, and asks is it a good idea to have Beth here?--she once loved Quentin very much. Bring her in, orders Petofi. Aristede does so. Petofi orders Aristede to leave; the latter isn't thrilled.  Petofi asks Beth a most important question--how do you feel about Quentin, exactly. "I hate him," she says. You don't care what happens to him? asks Petofi.  No, he's going to marry Angelique, she says. You can stand by and watch whatever I think necessary to happen? asks Petofi. Yes, she assures him. And in the morning, you will be very happy, for you will be revenged, he says. Aristede enters. "He is here?" asks Petofi. Aristede nods. Remain in the room, orders Petofi, and both be very quiet--"You know what the word is, Aristede, and what you are to do?" Yes, says Aristede. Good, says Petofi. Good luck, says Aristede.  I don't believe in it, says Petofi--it's a poor substitute for will. Aristede smiles at Petofi, then swings the triumphant grin around to Beth.

Petofi takes a book and sits down in a chair, pretending to read when Quentin comes in. I didn't expect to see you again tonight, says the Count--come down, my dear boy, how clairvoyant you are, I was just wanting some company. Why did you gave me the ring? asks Quentin. A present, answers Petofi. Quentin won't accept that. You admired it, says Petofi. That's no reason to give it to me, says Q. Why are you so upset? asks Petofi. I can't get it off my finger! says Quentin.  That's a sign you should keep it, asserts Petofi. I don't want it, says Q. There are times one should simply sit back and let life happen, advises Petofi. This isn't one of them, shoots back Quentin. I think it is, says Petofi. Tonight, says Q, Lady Hampshire--do you know her? Petofi thinks it over.  Don't lie to me, warns Quentin--she already has, claiming not to know you--she was lying, I know it--I wonder WHY I know it, that's what's so puzzling--from the moment she said she didn't, I knew as well as I knew my own name she was lying--but why?Petofi laughs, nodding, then says, it was exceptionally bright of you, very intelligent, yes, Quentin, Lady Hampshire and I have met--surely she forgot. No, you know each other very well, says Quentin--am I gaining some second sight? Would you like that? asks Petofi. Quentin asks, is it because of the ring? How suspicious you are! says Petofi.  Yes, agrees Q, I'm becoming suspicious, it's as if I feel I'm about to remember how you and Lady Hampshire knew each other, as if, any moment, I'll know it--"You said once that I would have to pay for the portrait," recalls Quentin. "My portrait. Is this part of the price?" You will never know, Quentin, what you have to pay, says Petofi--you were very careless about that portrait, my boy, very careless indeed--dangerous to lose anything so valuable, if it fell into the hands of an enemy and the moon was full, one slash of a knife across the portrait and you would be as you were--"you should be more careful when you deal with"--and he goes to the door--"the unknown!" The only thing I'm certain of, says Quentin, is that you are the unknown--what do you want from me?  Aristede brings out Quentin's covered portrait, a move Petofi calls clever--you must have known we were talking about this. Petofi shows Quentin the portrait.  Q demands to know, where did you get it? That doesn't matter, says Petofi, I don't want you running in a rage to chase whomever stole it--no, I looked out for you, just relax and don't interfere.  Look at that face, says Quentin, every time I look at it, it looks uglier and harder. It's your imagination, insists Petofi.  Look at the shadow under the eyes, suggests Quentin--it wasn't like that when Tate first painted it. Quentin looks confused, shaky, dazed. What is it? Petofi asks. My eyes, says Quentin, covering them with his hands--"I can't see!" he cries desperately, covering his face with one hand. Petofi grins. Quentin uncovers his face--I can't see. Turn around, orders Petofi--can you see me? Not very clearly, says Q, I can see an outline. You will see, Quentin, says Petofi, close your eyes and when you open them again, you will see as clearly as Quentin Collins ever could--close your eyes! Quentin does as he's told; Petofi touches his eyes with his magic hand. Now, open them, orders Petofi. Quentin is delighted--I can see--how did you do this?--nothing like that ever happened to me!  Don't take it too seriously, says Petofi heartily--that little demonstration was given to show you more of my powers--I advise you to take my advice without argument for once--go back to Collinwood, go to bed, get some rest, you're exhausted, and I need rest--tomorrow morning, everything will be very different--I mean it, it will be!  Why do I believe you? asks Q. Because I'm right, says Petofi--not another word out of you--shall I send Aristede with you--would you like company on your way home? (Like he'd really want Aristede's company!) No, I'd prefer to be alone, says Quentin. Yes, I understands, says Petofi.  Tomorrow, says Q, we will meet again, to get everything clear as to exactly what I owe you.  Tomorrow, agrees Petofi, if you still want to talk, we will. We will, I mean it, says Q. Tell me tomorrow, reiterates Petofi. Quentin goes upstairs.  Petofi calls for Aristede and says, it's going brilliantly, far more brilliantly than I dared to imagine--nothing can stop it now--NOTHING!

Kitty, book in hand, closes the window in the drawing room, then puts down the book. Quentin returns. Join me in a drink? she asks--I'm being very forward she is, but I think it would help me to sleep if I had a brandy. "What are you REALLY doing here?" Quentin asks. She turns to look at him--"I bet your pardon?"  I wonder why I asked that? says Quentin, puzzled, then adds, yes, of course--Gerald Soames died penniless, and you have come here to marry Edward and all of his money!  Kitty is horrified.Quentin laughs at her.  She smacks him--stop it! she orders. Why did you hit me? he asks--did I say something?--tell me!!   "Quentin, if you don't remember," says Kitty, "neither do I." She leaves him, heading upstairs.

We see Quentin's portrait, which does look dissolute compared to its original, pristine condition. Petofi covers it, with Aristede's help, and says, tonight is the most crucial part of my plan. I don't know what the plan is, says Beth.  You won't, says Petofi--there's no time to explain now, but you will obey me if you understand. Yes, she agrees. I'll go into that room, Petofi says, the door will be closed, neither of you will enter--that's an order--what I must do here, I must do alone. You won't he disturbed, Aristede assures him. Neither of you will sleep tonight, instructs Petofi--if anyone comes to see me, including Quentin himself, he will not be allowed to disturb me.  Aristede and Beth agree--we understand."When we meet again," says Petofi, "everything will be different--VERY different!" He enters the room, closing the door. Beth looks at a smiling Aristede, who says I'll be upstairs at the door--you can bring me some coffee.

Petofi sits in the chair and intones, "Quentin Collins, you must bend your will to mine, and there shall be no resistance, because I am the fire, the air, the water and the earth, I am the powers of all the stars! You will hear the rustling of leaves in a thousand trees, telling you the wind of change is upon you--so it is, and so it shall be, forevermore!"

NOTES (include spoilers): Loved the scene between Quentin and Kitty, where he becomes "inhabited" by Petofi, says something that horrifies her and she smacks him.  Quentin returns and doesn't understand it--what a well-acted scene!

Those of us who have seen this before know that Petofi is about to do a mind exchange with Quentin, which is why he had those weird flashes when he was with Kitty, and why he knew her real motive for coming to Collinwood and that she lied about not knowing Petofi.

Fasten your seatbelts, my friends, it's going to get quite weird!


855 - Quentin looks out the drawing room window forlornly, his hand on the window pane.

Aristede looks at the door behind which Petofi meditates and tells Beth, sit down and relax--we can't leave the door unguarded--it could take Petofi all night.  How will we know it's over? asks Beth.  You aren't getting impatient, are you? demands Aristede. No, she replies. Sit down and relax; when it's over, you'll know it, he shouts. Beth sits, her back very straight. Inside the room, Petofi sits, too, his eyes huge behind his glasses, his mouth hanging open slightly.
Quentin's eyes are oversized orbs, too--he remembers it all began when Petofi put him to sleep--he awakened wearing the ring--why did he put it on me, and why can't I remove it? -it must have something to do with what's happening to me, but what? Quentin's torment is interrupted by a knock at the door. He starts moving toward the doors, but stops, leaning against the doorframe weakly, then continues on. It's Magda. Stay away from me? he orders, almost hysterically--I know what you want, but you won't get it--"It's mine and going to stay mine!"  Sympathetically, she asks, tell Magda what's wrong. He looks at her, now out of his trance. When did you come in? he asks.  She's puzzled--just a moment ago, you let me in, don't you remember?  No, says Q. "What happened?" she asks. I don't know, he says. When you let me in, says Magda, you looked scared--why? He presses his hand against his forehead--no use asking questions, he says, ...“cause I don't know the answers. Magda notices Petofi's ring on his finger and is immediately concerned--it belongs to Petofi, she says, how did you get it? Leave me alone! shouts Quentin. He's trying to use you, says Magda, take it off! I tried, says Quentin, it won't come off--he's too powerful for us, no one can do anything to fight him. He leaves the house. Magda is very worried.

Aristede listens at the door. Beth asks, can you hear anything? No, he says, lighting a cheroot in a candle. What exactly is Petofi doing in there? she asks. He petulantly says, you haven't been with him long enough to be taken into his confidence, especially in a matter this vital. Why is this so vital? she asks. You'll find out before this night is over, promises Aristede. Is Quentin going to die? Beth asks.  Aristede laughs--no, he says--but before this night is over, he just might wish he had died--do I detect a note of concern for Quentin?Of course not, she says, I pledged my loyalty to Petofi and believe I deserve to know what is going to happen. I'll give you one small clue, he says, then you can figure it out--I suggest you give your imagination free reign--try to see a man experiencing something far worse than death, try and think of the most diabolical, the most terrifying thing that can happen to a human being, and that's what will happen to Quentin tonight--that's all I'll reveal; it's up to you now.  Her face remains stoic. Are you sure you aren't suffering from some small concern for Quentin? asks Aristede.  I feel no concern whatsoever, she says defiantly. Aristede takes a puff of his cheroot as Beth returns to her chair.

Blue Whale - Charity, alone, sings "I Wanna Dance For You" as she drinks, standing next to the piano. She wears black and pink, a fairly fetching dress. She pours another drink. Quentin knocks at the door.  What's this? she asks, and lets him in. He already seems drunk. Quentin Collins, of all people, she chirps--what brings you here at this late hour? He's stunned, wondering, how did I get here? The place is closed, she says, your timing's bloody awful. Let me stay for a few minutes, he begs. Why should I, the way you treated me? she demands.  I need help, he says, dazed.Oh, says Charity mockingly--you need help, you haven't changed a bit--you were like this the last time I saw you--you knew where Barnabas was, knew it all along, didn't you? Quentin walks away from her. When the time came to destroy him, YOU couldn't do it, I had to, and I haven't forgotten that! "I don't want to talk about Barnabas!" screams Q, taking down a chair from a table and sitting down. He covers his face with his hands--"I'm just trying to understand what's happening to me!" Charity flirtatiously asks him, "Like what? Could it be you come here to see me, after all?" She takes his hands in hers. Yes, he says, I guess it could. She's pleased--why didn't you say so when you walked in?--I'm not one to harbor a grudge, especially against you.  She touches his face longingly--we don't have to stay here, Luv, she says seductively, I've got my own place now, and we...  No, I want to stay and talk, he says. (a first!)  Talk? she asks, laughing--the night wasn't made for talking, Luv. This one was, he says, pressing his fists to his mouth. She asks if everything is all right. I don't know, I can't explain it, I only know that...they frighten me, he says. Who are you talking about? she asks.  My head--I can't think straight! he says.  Could you have taken a bad fall? she asks.  No, he cries, clutching his head. You poor Luv! she cries, caressing his hair. He presses his head into her bosom. "You need a little tender loving care," says Charity--and you came to the right place, you've been living in that house with all those barmy relatives of yours--that's no place for the likes of you and me. Q agrees--I can't go back there. Now you're talking, she says excitedly--stay right here with me, and you'll be chipper in no time at all! He doesn't answer. You do so need to be cheered, she says--I'll go fix you a drink, and you can sit back, relax, and let me entertain you. Quentin, hair all mussed, doesn't look well at all.

Mill - We see Petofi--enormous eyes, his fishlike mouth, deep in his trance...  Aristede smokes, Beth sits, both of them waiting. Annoyed, she asks, why do you keep watching me?  I was wondering what you're thinking about, he says. Nothing, she says, nothing at all. Are you sure you aren't wondering what will happen to Quentin? he asks. Quentin deserves whatever is going to happen, says Beth defiantly. To us, she appears uncertain, hearing in her mind Quentin saying how sorry he was--I wanted to tell you, couldn't find the strength to risk hurting you, I know you can't understand, I still love you, but I have no choice. Still love you, love you, love you, echoes in Her mind.  Her face fades, juxtaposing with Quentin's at the Blue Whale as he listens to Charity singing, "I'm Gonna Dance For You." She swings and sways, trailing her boa over him, but he doesn't even smile. He seems like a man in a trance, then suddenly beings to laugh. "Summon the innkeeper!" he shouts, happy and raucous. "Tell him to keep the wine flowing, and you my beautiful, exquisite creature, let me look at you!" He lifts her high in the air as she squeals, kissing her wildly, twirling her around. She's left breathless.  He offers to play her a tune, sit down at the piano and begins to play her theme song. She hums along, delighted. Quentin sways to the music, lavishly playing the tune. Charity comes over and presses her face to his. "I didn't know you could play the piano, Quentin," she says, smiling gleefully.  Quentin asks, "The piano? You know, my dear, many long years ago, I used to play it quite brilliantly--until THEY came. Until they came!"  And, abruptly crazed, he slams the piano shut, covering his face. Play me a song, she asks him. Play? he repeats--what are you talking about, I never played the piano in my life! I just heard you, Luv, she says, you were playing beautifully. "I was?" he asks. Yes, she says--you said you hadn't played for a long time, but don't believe that. I said that? he asks, confused. You do remember? she asks. No, he says. She kneels and caresses his hair--maybe you don't need the kind of looking after that I thought you did, after all, maybe you need a doctor. No, a doctor won't help me, no one will, he says, and leaves the Blue Whale.  Charity gazes at the closed piano.

Quentin, in a horrible state, returns to Collinwood. He shakes his head, goes to pour a drink. He sways and tips into a chair, lowering his head to the arm, closing his eyes. The ring on his finger glitters.

Petofi sits in his chair. Beth and Aristede wait. Beth paces the room, looking thoughtful. Aristede realizes someone is upstairs. He tells Beth, go upstairs and get rid of whoever it is--hurry! It's Magda, trying to get through the door, which is locked. Beth opens it--why did you come here? she asks.  What are YOU doing in this place? demands Magda.  I'm not obligated to answer that, replies Beth. Are you mixed up with Petofi? asks Magda.  I'm working for him, says Beth. "You're crazy," says Magda. Go away and stay away, orders Beth. I must speak to Petofi, insists Magda. He's busy, relays Beth--and for your own sake, I suggest you go. Magda sighs--it has something to do with Quentin, she says--I saw him before, something scary happened to him--I've got to speak to Petofi. Nervously, Beth says, I have strict orders not to let anyone in--please go away. I know Quentin doesn't mean anything to you anymore, says Magda, but he is in danger, she warns, doesn't that mean something?  "Good night, Magda," says Beth, and goes back into the mill, closing the door.

Petofi sits, still deeply meditating. Beth, back at her post, again remembers Quentin saying, I love you. Then she recalls Aristede asking her to think of the most diabolical thing that can happen to any human being--and then you'll know what will happen to Quentin. Next she hears Magda talking about how Quentin doesn't mean anything to you anymore, but he's in danger. . .the three voices whirl around and around in Beth's mind, and her eyes widen with fear. "Still love you," "danger," "most diabolical"...  Beth suddenly screams.  Be quiet! Aristede reminds her.  She covers her face with her hands, wailing, "No, I can't let you do anything to him, he does mean something to me, I still love him, and you can't take him from me!" She races out of the mill, Aristede calling, you can't go to him, you'll ruin everything. She races to Collinwood, finding Quentin asleep in a chair. She kneels and breathlessly says, "You must wake up, Quentin, listen to me, they're trying to do something dreadful to you, and I don't know what it is, but you must wake up before it happens, before it's too late!"She shakes him, trying to rouse him, but he seems to be in a deep sleep from which he cannot be awakened.

NOTES: What a great episode. Petofi sits there looking like a creepy fish, working on his mind switch. The scene with Charity at the Blue Whale was so touching; it's clear she really cares for him, and adorable how she tried to "entertain" him out of his problems. When he played the piano, then exultantly lifted her into the air and kissed her, you felt her elation--and puzzlement. We knew Beth would crack, you can't turn love on and off that easily, and hate and love supposedly share opposite sides of the same coin. The question is, has Beth arrived in time to prevent what's about to happen--or not? Great seeing Magda again. Funny, too, how she, who once put a terrible curse on Quentin, is now one of his staunchest supporters. She went to Petofi to try and stop him, which was very brave, considering how much she fears him.

[spoiler]And isn't it cool how enthusiastically Petofi, in Quentin's body, kisses Charity? The man is a lech, obviously, and he's going to really appreciate the beautiful ladies at Collinwood once he has secured the kind of body the women will want. It might prove to be his undoing...[/spoiler]

Love, Robin

850 - Quentin tells Amanda we're leaving in an hour and 15 minutes--I haven't even packed, have you? I have, she says, and turns away.Don't do that, he urges, dropping gentle hands on her shoulders.  Don't touch me, she says. Of course I'm going to touch you, he promises. Well, she says, I have something to say to you that I can't with your arms around me--I've spent so much time wondering how you can feel about me the way you do, not knowing about myself, fearing Charles is right. It was coincidence that he painted the portrait two years ago, insists Quentin. You don't know what will happen, how different your life will be, Amanda reminds him--one day you might blame me for the change, and think Charles was right--maybe I'm not human.  Never, Q assures her. Easy for you to say, please think, for both our sakes, she begs. I have! He says.  Go to Collinwood, think carefully, examine everything, she pleads. I'll be at the train station, don't worry, he says. If you aren't, says Amanda, I'll get on the train and part of me will understand why you couldn't come--it will mean the end for us, but perhaps that would be easiest. I love you, he assures her--nothing will keep me from the train station--nothing! He makes her smile, then kisses her smiling mouth.

Trask comes downstairs as Quentin, whistling, enters the house. Trask immediately accuses him of "knowing something about this."  Quentin says, I take pride in knowing something about everything.  What did you do with Amanda? Trask demands--I knew you'd try something like this!--her clothes are gone, there's no sign of her! So I'm the villain, muses Quentin--have you considered she went to Tate? You are trying to confuse the issue, says Trask. Merely offering a suggestion, says Q. I'm no fool, says Trask--I can see through your arrogance and deviousness--where is Amanda?  When you find me, says Quentin, you'll tell me--I'm going to my room--am I allowed? Trask isn't satisfied with his answers. Too bad, says Q. When I have proof of your perfidy, warns Trask, I'll make your life miserable. "You make my life miserable just by existing," shoots back Quentin through gritted teeth. I see through you! shouts Trask, and don't forget it!--I know you're the source of evil in this house, and I will find Amanda Harris and rescue her from your evil--you will see, Quentin!  The latter walks upstairs, laughing at Trask.

In his studio, Tate gazes at Quentin's portrait, thrilled that he now controls Quentin--if I burn this portrait, Quentin would become the animal at the next full moon! This idea fills him with glee. Tate hides the painting on his easel, wondering what Q will do when he finds it missing.

Quentin has returned to his room and is packing his clothing. Nora comes in and asks,  why is Jamison mad at you?--I told him our uncle would take us to the fair in Collinsport tonight. Quentin looks uncomfortable.  Jamison said he wouldn't go even if you did take us, says Nora--are you going away? Yes, he says, but not for very long, I hope.  Kneeling, he says--promise not to tell anyone here I'm going to leave--there are certain people in this house I don't want to know I'm leaving. Nora promises not to tell a soul. Quentin thanks her. I'll miss you, she says sadly.  I'll miss you, too, he says, and asks for another favor--tell Jamison that I love him very much, and try to make him understand. It will be very hard, says Nora--he's really angry at you for marrying Angelique--he doesn't even want to hear your name--you don't fold your socks the right way, adds Nora--you aren't a neat packer. He ruefully admits to having a lot of faults. You can close my bag, he says, and goes over to uncover the painting--I'm taking it, he says, because it's something I must do. All he finds is an empty frame.  I don't know what happened to it, he says, dismayed.  Nora wonders who would take his painting. I must get it back, insists Quentin, anxious--I can't leave without it.  I don't understand grownups, says Nora. Quentin gets paper and a pen, and asks Nora to be quiet for a few moments. He quickly writes to Amanda, explaining something has happened--I might not be able to leave on the six o'clock train--wait for me--I love you. Take my letter to the rectory, he instructs Nora--you know where it is--give it to Amanda and no one else--she'll be there until quarter to six--you aren't to stop on the way--go straight there and don't show it to anyone else. I can handle it, she assures her uncle--will you be here?  No, he says, I must do something else--go on, hurry! He gazes at the empty frame and figures it's either Petofi or Tate.

5:25 - Nora creeps downstairs only to be stopped by Trask. He demands to know where she's going in the storm--and insists on the truth. I'm going to find Jamison, she says. I thought he was in his room, says Trask--I told him to wait there all evening.  He had to go out, says Nora--he left something in the garden and I must go get it for him. You told me Jamison was already out there, Trask says.  She raises her arms in a gesture of annoyance--you've got me so confused! She complains.  Are you lying? He asks--you act as if you are. I'm not, she insists, and leaves the house, Trask calling after her.

Quentin barges into Tate's studio--I want my picture!  I don't know what you want, says Tate. You stole the one you painted, accuses Quentin. I can't imagine why you'd think I stole that, says Tate--I don't even like it, personally. That portrait has strange powers, you've seen it change, says Q, and you stole it because you hate me. You shouldn't flatter yourself, advises Tate.I checked with Petofi; says Q, he doesn't have it, so you must. Do you trust Petofi? Asks Tate.  I do, answers Quentin. You're naive, says Tate.  No, says Q, you took it--and because of Amanda--if you have that portrait, you can control me--give it back! Tate denies knowing which portrait.  Quentin starts to look for himself. Stop, Tate orders.  Stop me, counters Quentin. They get into a fight, grappling, and it goes along pretty violently, the two men battling all over the room. Finally, Quentin cracks a bottle over Tate's head, leaving him unconscious on the floor.  Ignoring him, Quentin continues to look for his portrait.

Just as Nora arrives at the rectory, Trask catches up to her, dropping his hand to her shoulder.  I knew you were lying about going to the garden, he says--you have lied to me, and that grieves me very much--Jamison is in his room, I went to see him. Who lives in that house? he demands. I don't know, says Nora. Then what are you doing here? he asks--what's that in your hand? Please, Reverend Trask, she begs. You lie so easily, he says--we will correct that in time. He demands the envelope.  Nora refuses to give it up. You're an evil child, says Trask, we both know it, and you will pay for it. He grabs the note from her.  She tries to run, but he warns, you are to stay here while I read what is in the letter! He opens it and reads...

5:40 PM - Amanda looks at the clock and starts to put on her jacket.  She answers a knock at the door--Trask.   Don't bother coming in, she says. I do my duty as I see fit, he insists.  He notices her suitcase and realizes she is leaving. You cannot allow your life to end like this, he says. My life here has already ended, says Amanda--I'm sorry. . .no, I'm not--I promised to be honest with myself from now on. You've always been honest with me, he says. No, I haven't, she says. Don't tell me that I do not recognize honesty when I hear it, he says--you were lost and you saw the light. Yes, I was lost, but not the way you thought, she says. Now you are tempted again, he says. No, she says, and don't call me your dear child. You cannot commit this sin, says Trask. It's not a sin, she insists. You don't know, he says. YOU do not, she throws back. You are running away with Quentin, he says. She turns, surprised. Do not deny it, says Trask. I won't, says Amanda. When you first came to me, he says, you were in the depths of despondency because of a man--surely you can see Quentin is no better?--I have seen what effect Q has on women. Understand me, she says, I came to you with a lie, a trick, I wanted you to fall in love with me--it was cheap, contemptible, and I hated myself--but I saw the way you looked at me and thought, he deserves it! (Go, girl!)--whatever he gets, he deserves! I looked at you with acceptance, forgiveness! he insists. She laughs--you're a hypocrite, and I haven't time to listen to your lies! MY LIES?! he cries. You live them! she says. I live to help others! he yells--I want to save you from misery and sin!--don't you realize the path down which Quentin will lead you--do you believe what he's told you? Yes, she says, I do. Do you know where he is? asks Trask.  Yes, he's leaving Collinwood to meet me, she replies. Oh, indeed, says Trask, is he bringing Angelique with him?--when I left Collinwood, they were together in the drawing room--laughing!--were they laughing about you? he asks. I don't believe it, she says. I overheard them making their plans for the evening, says Trask.  Not true, says Amanda.  The carriage was waiting outside, says Trask. "To pick him up at the station," says Amanda. No, says Trask, no, to take them to the Inn, where they are having dinner tonight!--I'm not telling you this because I enjoy it (yeah, right!)--you have hurt me, but I won't be guilty of trying to repay in kind--surely you must face the fact that Quentin is incapable of compassion or morality! He forces her to face him and says, you must never speak to Quentin again. "Get out!" she orders. My dear, he says, you must control yourself, I am your only friend.I never want to see you again! she screams at him--"Get out!" Trask looks stunned.

Quentin has failed to find his portrait. Tate lies, still unconscious, on the floor. Quentin nervously checks the clock. Time is running out!

Quentin arrives at the rectory, but Amanda is no longer there. Nora is, and fearfully says, Trask took your note from me.Both Nora and Quentin are miserable. I must get to the station, says Quentin, departing hastily.  He leaves Nora alone there, looking as if she's going to cry.

At the train station, Amanda waits. The conductor tells her that her train is about to leave--if she's going, she had better go. Amanda looks from him to the train, not knowing what to do. Has Quentin changed his mind?

NOTES: Trask is such a total sleaze, the man should be shot, hung and dismembered, in no particular order. Amanda doesn't have much self-confidence, even if Tate, Tim, Quentin and Trask are all in love with her, so she's willing to believe Trask's lies. Trask treated Nora horribly, but the little girl is brave for sticking around to tell her uncle what happened to his note. Everyone wants to throw roadblocks into Amanda and Quentin's path to happiness, which is what Tate did by stealing the painting. If he can't have Amanda, no one will, especially Quentin. Fight scene was pretty cool, although it looked like some things didn't go quite the way they were supposed to. Frankly, the Tate/Amanda/Quentin/Trask quadrangle kind of bores me.


851 - Train station - Quentin sees Amanda has waited for him, and is thrilled. He turns the woman around to face him, only to find it isn't Amanda, but a woman who resembles her, from behind at least. The train for NY has left, she tells him, I just got off it. I made a mistake, he says, stricken, clearly disappointed--a terrible mistake.

Tate is lying on the floor amidst the shambles of his studio when someone knocks, but he returns to consciousness.  It's Petofi, who wants to speak to him.  Charles rights a chair, then opens the door. Quentin didn't lose much time, says Petofi--the portrait--did he get it? Tate pretends ignorance.  Where is Quentin's portrait? Petofi demands--the one you stole from his room. Why do you say I stole it? asks Tate.I don't know or care why, says Petofi, I just want it back--your action was incredibly rash and idiotic--Intend to punish you for stealing it--don't make it worse. Tate hands the portrait over to Petofi. None the worse for its adventures, remarks Petofi--it would have been unfortunate if it had sustained damage--I don't mind theft, but I do mind stupidity--I have plans for Quentin, and I won't allow them to be ruined. You didn't mind interfering with my plans, complains Tate. What do you mean? asks Petofi.  I asked Amanda to marry me, says Tate. And what did she say? asks the Count. She might have said yes if he'd given her a little time, complains Charles--he just stole her away. Very romantic, says Petofi. It won't be, insists Tate, not after she spends a little time with him. So the fair Amanda is planning to run away with Quentin? says Petofi. Yes, on the six o'clock train, says Charles. How did you think stealing the portrait would prevent that romantic adventure? asks Petofi. I'm not sure, says Charles.  You're being evasive, accuses Petofi.  I was confused, Tate admits. The portrait is mine and I intend to keep it, says Petofi. You found your ideal in Amanda, youe lost her, but you have a stable mind (?), and I understand and almost forgive you this aberration--this was the only time you ever deceived me, right? asks Petofi.  Yes, Charles assures him. Then we know where we stand, asserts Petofi--Quentin has Amanda, I have the portrait, and you have all the pictures you painted of her--I want to confess something I've never told anyone--I have an ideal, a face I see as I drift off to sleep, a beautiful woman who haunts my dreams--tall, with raven hair and eyes like a cat--could you draw this woman for a lonely friend? It's something you see in your mind, says Tate, I can't put it on paper. Try, demands Petofi, do try, just a quick sketch will do--draw a woman with black hair and eyes like a cat--Is there some reason you don't want to do it? asks Petofi, noticing his hesitation. I don't want to disappoint you, says Tate. I'd only be disappointed that you're hesitating to do as I ask, says Petofi. It's hard to look into another person's mind, says Tate. Look into your own, then, suggests Petofi, create someone from your own imagination--do as I say and let's see what happens. Tate refuses--I'm afraid. Of disappointing me, or something else? asks Petofi. No, nothing, says Tate, I'll try. He quickly draws on the sketch pad. Excellent, says Petofi, one more stroke and she'll be finished (dirty mind central?) "She's so beautiful, and so real, I can't believe she isn't in the room," says Petofi. Charles turns to him--NO, she's not here! he insists.  What's the matter? Asks Petofi.  Charles, seeing nothing, smiles, relieved. I'm sorry I forced you to draw my ideal woman, says Petofi. I thought you might be disappointed, that's all, says Charles. Smiling, Petofi reminds him, I ALMOST forgave you for stealing Quentin's portrait, and I almost did--but not quite--because you were arrogant, and must learn painful humility...goodbye, Charles--I am sorry for your loss. Wait, says Tate--but Petofi is gone. Tate looks at the drawing he just did, and begins to sketch another. The pencil slips from his hand. No, he couldn't have...it's true!--I can't sketch at all, not a single line!

Quentin answers a knock at the door--Tim, bearing a note from Amanda.  Everything in my life has been unreal until now, she writes--I've found reality and it changed completely. Reality, hell, she found a new man, says Tim. Be quiet, orders Q. I returned you brooch, continues Amanda--give it to your next companion, I have no use for it. What does she think she'll gain with you? asks Tim, it won't be diamonds. He closes his hand over the brooch. She doesn't want diamonds, says Q. Doesn't she? asks Tim, you have much to learn about Amanda. Teach me, says Q. What does that mean? asks Tim.  Tell me everything you know about her, says Q, where you met her, who she knows in NY and where she might go if she left here. I'm not talking to you, insists Tim, I'm here to see Amanda. You can't, she's gone! Says Q.  Without you, Quentin? asks Tim nastily--oh, she up and left without her Quentin, that's the best news I've heard in a long time! She left without me, says Q, but I'm going to find her, and you will help me. The only future she has with you is death! spits Tim. He tries to leave, but Q grabs him around the throat--you're going to tell me all about Amanda, or you won't get out of this house alive, threatens Quentin, applying a little pressure to Tim's throat.

Start talking, Quentin commands Tim, who, under such duress, agrees to speak.  Quentin tosses him across the room, nearly causing Tim to take the wobbly banister with him. We met in New York, Tim explains--I don't know much about her, she stayed at the Hotel Holbrook, never received messages or mail, or visitors--no outstanding habits or generalities--you will have a difficult time finding her--if you love her, leave her alone, demands Tim, I won't let you destroy her.The two of them get into it, fighting, which ends when Quentin literally tosses Tim out on his ass. From the top of the steps, Angelique asks, why were you so rough on Tim Shaw? He was interfering with some of my plans, replies Q. What plans? asks Ang.  They wouldn't interest you, he says. All your plans interest me, says Angie, smiling--especially your marriage plans. I have none, he says. I know, she says, isn't it time you did? No rush, he says.  Sensing his reluctance, she asks--when are we to be married--you can choose the date. When I return from Boston, he says, I have business there.  That's why I was arguing with Tim--he gave me some info I don't trust--I want to go check it out. That's not like you, says Ang, to be so interested in business. I've seen Tim's success and am sorry I haven't made more of my life, says Q. Oh, she says, I don't know if I like the new, serious Quentin, but will marry you anyway--when? Complications may keep me in Boston longer than I expect, he says--I don't want to choose a date and miss the wedding. I wouldn't like that, either, agrees Ang. Well, I've gotta pack now, he says. She offers to help.  I can do without you, he unwisely replies. Perhaps you can, but don't decide to try, she advises. He runs upstairs. She's disturbed. She answers the door to Petofi, who wants to see Quentin--I'm glad he's still here. Did you know he was going away? asks Ang. Did YOU? counters Petofi.He just told me, she says. Where is he going? asks Petofi.  To Boston, she says. Do I detect distrust in your voice? asks Petofi--you're very beautiful, and I've admired you a long time--it's unbelievable to me any man should prefer another woman over you. Ang is startled--what are you talking about?  I think my conversation tonight should be with you, not Quentin, says Petofi. I'm not sure I'm interested, says Ang.  I think you will be, says Petofi--you see, we have a common cause, at last!

Quentin comes downstairs, suitcase in hand. Petofi meets him in the foyer--I heard you were going to New York with Amanda Harris. I'm going, insists Q, and you can't stop me. Why should I? asks Petofi, she's a very lovely girl--you think my plans for you depend on your staying here, but distance is no impediment to me--wherever you are, I will be with you, says Petofi--come, catch your train, find your fair lady, wherever she may be. And he ushers Quentin out, laughing wildly.

Tim keeps staring at Amanda's note and brooch. Petofi comes to see him--I saw Tate, he says, and found out quite a few things--I learned that your pretty companion has fallen in love with Quentin, he says, putting a comforting hand on Tim's shoulder--they plan to go away together. Petofi reads Amanda's farewell note. What happened at Tate's studio? Asks Tim. Curious how Amanda seeks a reality, comments Tate. Did Charles draw a person for you? asks Tim.  Yes, he did, says Petofi, admiring the brooch. Amanda likes surprises, says Tim--one day Quentin will give Amanda the last surprise of her life. You're really concerned, observes Petofi, so I'll put the situation to rights, do what must be done. "I want her back," says Tim. I said I would do what must be done, says Petofi--that will have to content you for now--since you've been so patient, I'll tell you what happened at my meeting with Charles--nothing--I tested him and he failed miserably--he drew a lovely woman but she failed to meet the "dimension" of Amanda Harris, he laughs. Tim, stunned, insists, I saw a man come to life! You saw what you wanted to see, says Petofi--a curious phenomenon--hungry men dream of food, when a man has been hungry long enough, he imagines he sees food even when awake--you have dreamt of wealth and power for a long, long time. Do you think I just imagined this? asks Tim, frustrated and pissed. Petofi comforts him--what else am I to think?--don't be bitter, there are still ways we can be of use to one another. He bids Tim good night.  Shaw sits down, Amanda's note in front of him--but the brooch is gone!

Quentin stands at the station, holding his cape together at his throat against the cold. The train pulls in.  He suddenly feels Angelique grab his shoulder. That's the train to New York, she says--you told me you were going to Boston. I changed my mind, says Quentin. You're going to New York to find Amanda, she says. What do you know about her? asks Quentin.  That you think you're in love with her, says Ang. I know I am, insists Quentin.  It's a bit inconvenient, considering we are getting married, points out Angelique. I tried to care, he says, and would have gone through with our bargain, if I hadn't met Amanda, but the way I feel now. . .it only happens to a man once in a lifetime. Don't bore me with this nonsense, orders Angelique--there isn't time!  You're right, he says, I have a train to catch. I warn you not to, she says. Are you threatening me? he asks--what will you do, kill me?--go right ahead--at least I'll die walking away from you!  (ooh, Barnabas never came up with a diss that good!)  I won't hurt you, she promises, but...  He realizes what she's implying and his grow large when he notices she has Amanda's brooch."But Miss Harris will not be quite so fortunate," says Angelique, taking out a clay doll. She holds the pin of the brooch over the clay figure-- wherever Amanda is, when I pierce the doll with my brooch, she will die, horribly, and painfully. You wouldn't do that, says Quentin, licking his lips nervously. Angelique looks up at him--you'll make me do it if you get on that train--you decide, Quentin, will Amanda Harris live...or die?

NOTES: Ang up to her old tricks--this time she's threatening a Collins male's beloved girlfriend instead of his sister, but it's still typical Angelique, having to force a man to say "I do."

Petofi is a nasty bastard, taking away poor Tate's painting power completely. He really doesn't believe in minor punishment, does he? Brrr, that man is cold, reminds me of Goldfinger. And what's even scarier, it appears Petofi and Angelique are in cohoots, since he must have given her Amanda's brooch in the first place.  That's one pairing that bodes ill for everyone, especially the Collins family!

Petofi has a new plan in mind.  I wonder what it is?

Love, Robin

846 - Charity, a tear glittering in her eye, looking dazed, sits in the Blue Whale.  Tim Shaw is there, remarking, you're up early.  I haven't been to bed, she says.  The tear slides down her cheek.  "I done it," she says, and slams her hand on the table--I want a drink!  It's not open, says Tim.  I'll help myself, then, she says.  Get some sleep instead, he advises, you can't carry the party on indefinitely.  Party? She asks, giggling madly--it weren't no party, Luv, believe me!  She pours a drink.  Tim, listening to her insane cackling, takes it away, advising her not to have it.  She continues laughing.  What's wrong with you? he asks--be sensible, what's wrong with you? Nothing's the matter, she says--my Carl, who loved me so, can rest--"It was terrible, the blood!--the blood!  I put the stake over his heart. . ."  "What?" demands Tim.  "I brought the mallet down," she continues--"He screamed!"  Who? Demands Tim.  "The vampire," says Charity.  "I've just killed Barnabas Collins!"  And she sinks into the stunned Tim's arms.

Tim helps Charity drink her drink.  She chokes--I did it for my Carl, she murmurs.  Where did you find Barnabas' coffin? asks Tim.  I found it, she says.  How, he asks, the Collinses have been searching, Petofi, Trask...are you making it up?  No, she insists, I don't think the Collinses wanted to find him, after all--Quentin didn't, I know that--I followed him there, he couldn't do it!--I saw the stake hammer lying on the ground...  She bursts into tears, her head falling into the circle of her arms on the table.  Does anyone else know about this? demands Tim.  No, she says, sobbing.  Did Quentin see you? asks Tim--good, Edward will be very grateful to you.  I don't care, she sobs.  Don't be foolish, he says, you can demand a big reward for what you did.  I don't want one! blares Charity.  I want us to go speak to Edward, he says.  I don't want to go there! Insists Charity  Yes you are, he says, just decide what you want--you've done that family the biggest favor they've ever had.  She gets hysterical--"I don't care!" she shrieks.  Tim grabs her and says, you've got to care--we'll go straight to Edward.  I want to forget, that's all, she cries, just forget.  You can't, says Tim, not this, and no one else is going to forget it, either.

Kitty is looking into her fire, and smiles when Edward knocks at her door.  She checks her appearance, puts on perfume (she looks delicious) and says, "Come in!" in a very fake happy voice.  KITTY! he cries, delighted.  He takes her hands, delighted to see her.  She's smiling, running to him.  I was astonished when a maid told me you were here, he says--but where is Gerald?  Her smile fades--you haven't heard?--I should have cabled, everything happened so suddenly--Gerald is dead.  Not possible, says Edward, calling her "poor dear", trying to take her into his arms.  She doesn't allow that, and says, "No, Edward, please don't feel sorry for me, I'm determined not to feel sorry for myself."  What was the cause? asks Edward.  He didn't feel right, says Kitty, I should have known, I blame myself, no sense of pretending, since you and Gerald were so close, but in truth, Gerald killed himself.  Oh no, why? asks Edward--business reverses?--you and he were so happy together!  Yes, agrees Kitty, thank you for remembering that.  She begins to cry.  He takes her into his arms, soothing her.  I'll never forget Gerald, she murmurs.  You were wise to get away, he says--a visit here will give you proper perspective again.  I'm never returning to England, she says, even though I was happy there, from the first moment my carriage passed through the gates of Hampshire House--I was so frightened before then, rhapsodizes Kitty, not knowing what the children would be like or what these English strangers would expect from an American governess, but the moment I saw that house, I knew it would be all right.  And it was, says Edward.  And I felt the same way last night when I saw THIS house, says Kitty--oh, Edward, do you mind my being here?  I was touched and flattered that you came here, he says, holding her hand against his chest--I want you to stay as long as you like--if Judith were well, I know she would insist upon it--you will be an adornment to Collinwood.  She gazes at him as if she'd like to kiss him, but he looks uncomfortable.  I brought you something, she says, knowing Gerald would have wanted you to have it, since you admired it since having dinner at the Admiralty.  Edward opens the box--his emerald (cuff)links, he says, overwhelmed--I couldn't.  You must, she says, it will help you to remember when Gerald was happy.  You'll be happy again, Edward assures her.  Yes, says Kitty, perhaps I will be in this new life I'm starting.  "This new life you're starting...with us," says Edward, intimately touching her hand as she closes the box containing her dead husband's cufflinks.  (Can you say golddigger, boys and girls?  Is she the biggest phony you've ever seen or what?)

Collinwood foyer - Charity tells Tim, this is none of your business.  You never know when something is becoming my business, says Tim.  You got me here, says Charity, but don't go trying any of your fancy tricks on me--I want nothing from them and there's nothing that can change the way I feel about it!  Edward comes downstairs and greets them--I'm busy, he says, tell me what it's all about.  We have news of great interest, reveals Tim.  I doubt that, says Edward.  For once, you're wrong, says Tim.  What is it? asks Edward.  "Barnabas Collins is dead," reveals Tim, to Edward's shock.

Drawing room - So, says Charity, now you know the whole story, and I can go.  Tim tries to stop her.  Edward says, if I couldn't deal with the vampire, I doubt you could--I suspect it's another of your lies.  "Don't believe me then, Luv, it don't matter a wit to me," she says.  I don't know your connection with this, Mr. Shaw, but I suspect you're taking advantage of an unfortunate creature.  Charity takes offense to this--you don't know the truth when you hear it.  You had best listen to her, advises Tim.  I already have, says Edward, then turns to Charity and says, I don't know what will happen to you, but you must stop this scurrilous story!  Go and see for yourself, she advises--go on, Mr. Collins, or don't you care, either, grand Mr. Collins?--maybe you've been protecting the vampire, too!  No, says Edward, I wanted to be rid of the vampire, too.  Let's go to the cave, suggests Tim, we'll find out easily that way.  Edward agrees, but says, you will both stay here--I'm going alone.  I'm in on this, says Tim and want to come along.  Edward agrees, but orders Charity to stay--I'll want to speak to you when we return, whatever we find.  Tim and Edward go.  Angry, Charity thinks about how they're always ordering me around, treating me like a servant or something--what will happen when Quentin hears I killed Barnabas?--why did he lie to me and say he didn't know where the vampire was?  Kitty comes in and introduces herself to a suspicious Charity as Lady Hampshire.  "LADY Hampshire, oh la di da!" cries Charity mockingly.  I was looking for Edward, says Kitty.  He ain't here, answers Charity.  Did he say where he was going? asks Kitty.  Did he ever, laughs Charity, but he wouldn't want you to know, since you aren't a member of the family.  Kitty haughtily says, I'm a guest here.  "I was almost a Collins," says Charity--"I'd have been mistress of this house if my Carl hadn't died.  Carl was the nicest one," she confides.  "I'm Pansy Faye!"  I'm pleased to meet you, lies Kitty--if you'll excuse me.  Charity hesitantly asks, could you stay and keep me company--I'm kind of nervous, with everything happening...  What is happening? demands Kitty.  Never mind, says Charity, they'll let you know if they want to--but listen, if this house ever gets to be too much for you, get Quentin or somebody to bring you down to the Blue Whale--you can watch my act, I sing, and I see things, too, sometimes, I'm a mentalist!" Most fascinating, remarks Kitty, insincerely.  I got powers, says Charity, I didn't used to, but I do now--I know things about people they don't even know themselves--I know things about you, says Charity.  This unnerves Kitty, who asks, what do you know about me?  "Do you hear that?" asks Charity.  Kitty hears nothing.  Then Charity begins humming Josette's theme.  Kitty listens, bored, as Charity finishes the music box theme.  I don't know that song, says Kitty.  "You will," predicts Charity.  "I can see it...where the music box is coming from!"  (We see Josette's music box appear between Charity's eyes).  An old music box, says Charity.  Kitty, annoyed says, I've never had a music box, and probably never will.We see the music box open in Charity's vision, then disappear.  Destroy the music box, orders Charity.  Kitty insists, I don't have one.  You will! cries Charity--destroy it as soon as you get it--keep it and it will mean your death--remember that.  Kitty just looks in astonishment at the babbling Charity.

Tim and Edward go to the cave.  "To think that his life would end here," comments Edward regretfully, "in a dismal cave."  He opens the coffin and looks inside, then closes it again.  "Barnabas Collins is dead--may he rest in peace," says Edward--the coffin must be chained, the cave sealed, insists Edward--he must remain here forever.  He and Tim leave the cave.

Remember the tune, Charity urges Kitty, and hums it again.  Kitty furiously says, I've heard quite enough! and runs from her, upstairs.  Charity comes after her, warning, this house holds danger for you, dangers you don't know about--you'll see.  Leave! demands Kitty.  Edward and Tim return.  Charity smugly asks, what did you find out?  Take her to the drawing room, Edward orders Tim.  Charity finds this insulting--like I'm a bloody package!  Tim closes the double doors behind him.  I'm sorry Charity upset you, says Edward to Kitty.  "She's mad, isn't she?" asks Kitty.  Yes, but someone must deal with her, says Edward--I'm entranced by you, he says--let's have a special dinner tonight, just the two of us--I was wrong when I said life is starting over for you--it's starting over for both of us.  Kitty smiles--her plan is going beautifully!

Edward joins Charity and Tim in the drawing room.  It will be a long time before you call me a liar, won't it? Charity asks Edward.  I'm prepared to admit I was wrong, he says.  Mighty decent of you, she says sarcastically, ain't it, Tim?  You expect a reward, don't you? asks Edward.  It does seem fair, Tim pipes in.  Stay out of this, orders Charity, and speaks directly to Edward--I want no thanks, nothing!  I'd like you to answer one or two questions, says Edward, which might seem strange, about Quentin--you followed him to the cave?  He knew where the vampire was, reveals Charity, I got that feeling, talking to him here, that's why I followed him.  If he knew, why didn't he come to me? wonders Edward--he could have kept it in the family.  You can count on us to keep very quiet, Tim assures him.  Can I indeed? asks Edward.  "She'll keep it quiet," promises Tim, "I'll see to that."  You will, will you? asks Edward--I'm sure of it, and no doubt at a price--what is your price?  Sometime I might want a little favor, says Tim.  I'm prepared to do you a favor right now, says Edward, by taking Miss Trask off your hands.  You may deny being Charity Trask, Edward tells Charity, but I remember the day you came into this house with your father--perhaps it's fortunate he's visiting Judith, he might not agree to what I'm going to say--"Stay here with us--we can get proper treatment for you."  Proper treatment? demands Charity, insulted--"Who'll get proper treatment in this house?"  There are doctors, he says.  I'm not sick, Guv, she insists.  He asks, do you remember the girl you were when you first came here?  I remember coming here with my Carl, she says, and this house holds no happiness in it, for no one!  We will change all that, says Edward.  It will never happen, she insists--I love my life, singing at the Blue Whale, I ain't about to start sitting around at my age!--if my Carl was still alive...  Miss Trask, says Edward.  She explodes--you are NOT to call me that name, you should call a lady what she chooses, and I choose Pansy Faye!--you got that?  She tells Tim, I want to get back to town.  Tim assures Edward she'll be all right--drop in and see us at the Blue Whale sometime.  I doubt I'll find the time, says Edward, but I'm sure you will find the opportunity to drop in and see me--when you want something.  Tim leaves.

Kitty is in her room, writing a letter to her mother.  She smirks as she reads it--"Edward has been exactly as I expected, hospitable, understanding and very dear.  The house is nearly as grand as Hampshire House, and he's invited me to stay as long as I wish--thank goodness, because I barely have the money to come to you in PA.  Things are looking up now!"  She folds the letter and inserts it into an envelope.  She's affixing the stamp when she spots it--Josette's music box, sitting on a couple of books on her desk.She remembers Charity's words--an old, old music box--you must destroy it, it will cause your death!  Kitty opens the music box.  Josette's theme trills from it. She listens...

NOTES:  We know what Kitty is really all about, after Edward for money and security.  She's so blatant about it--but Charity's predictions are right on.  She was such a hoot today, although I didn't appreciate her staking our favorite vampire.  Tim continues in his Bad Boy ways, looking for money and favors wherever he can find them.  Edward's apparent regret/sorrow over Barnabas was touching; vampire or not, he was family, and that's important to Edward.  At least he wished him a peaceful rest.  Charity's disgust over what she did was palpable.  Would she want to kill Quentin, too, if she knew of his equally guilty role in Carl's death?

Great episodes, but now we have the Barnabas drought.


847 - Tim paces Petofi's mill, then sits down.  Beth enters.  That's HIS chair, she says--he doesn't like anyone else sitting in it.  Tim sits elsewhere.  Beth says, surely you don't want to displease him.  When he hears what I have to say, predicts Tim, he's going to be quite pleased.  Why? she asks.  Wait and see, advises Tim.  I get the feeling you believe Petofi will be more than grateful, says Beth.  Smiling, Tim remains silent.  Petofi enters and hands Beth his hat.  (shot of Mike R. Phone)  Petofi remarks to Tim, you stop by with disquieting regularity; your persistence is admirable, you impatience annoying--I'll send for you when I have a chance to consider the matter we discussed.  I have news you've been anxious to hear, reveals Tim--Barnabas Collins is dead.  How unfortunate, says Petofi, I must offer my condolences to Dr. Hoffman...

Petofi says, I seem to have disappointed you in some way--did you expect me to bask in the warm glow of gratitude?  You knew Barnabas was dead, accuses Tim--had something to do with it--you're acting much too casual about this.  You thought that bringing me this information would obligate me to you in some way, says Petofi--you are wrong.  Wouldn't you even like to know who was responsible for Barnabas' death? Asks Tim.  It doesn't matter, says Petofi.  Tim spills anyway--Charity Trask.  This seems to surprise the Count.  Remind me to send dear Miss Trask some flowers, Petofi tells Beth, then orders Tim to stick around--I have things to discuss with you when I return.  Petofi leaves.  Tim asks Beth, did the Count have something to do with Barnabas' death?  She looks evasive--I wouldn't know, she says.  What's wrong with you? he asks.  Nothing, she replies.  You're sorry Barnabas is dead? asks Tim.  I have no feelings on the matter, claims Beth, one way or another.  Why do you seem so upset? asks Tim--what was Barnabas to you?  Go sit down and wait, she orders Tim--if you're good and do what Petofi tells you to do, your greed may be rewarded (zing!)

Julia prepares an injection and places it in her doctor's bags.  Someone knocks; she looks concerned.  She opens the doors--Petofi.  You need not be alarmed, he assures her, I have no intention of harming you--I congratulate you on the bravery of Barnabas and the ineptness of Aristede for leaving you alive--but you find yourself in a predicament now; you cannot rely on Barnabas to assist you.  Why not? asks Julia calmly.  Barnabas is dead, replies Petofi.Julia gasps in shock--I don't believe it, she says, it's one of your tricks!  He offers to show her the proof.  I saw him last night, she wails, beginning to cry, he was with me last night!--did you kill him, or have him killed?  My hands are clean, says Petofi--Barnabas fell victim to the wrath of an outraged woman--Charity Trask drove a stake through his heart--her motive was revenge; Barnabas apparently caused the death of her fiance.  Julia can barely speak--where is the body? She asks.  Edward Collins must know, says Petofi, but I advise you against seeing him--he might ask some very embarrassing questions.  Are you protecting me so that Aristede can have another try at killing me? asks Julia.  I haven't seen him since he botched the first attempt, says Petofi--no, you're alone now, friendless and unprotected in an alien world--you can't stay here long, soon you shall return to the future--when you do, I will be by your side--you'll be under surveillance morning, noon and night--good day to you, Doctor. Julia looks lost and depressed.

So does Quentin, who sits in the drawing room listening to his music.  Amanda, in a stunning yellow gown (she finally got rid of the pink frilly thing), sits beside him and teasingly asks, do you play any other song?  Where were you this morning? He asks, I was looking for you.  I took a walk along the beach, she says.  I would have liked to come with you, he says, his manner more than a bit romantic.  I wanted to be alone, she says, smiling.  Why? he asks.  I just felt that way this morning, she says.  I was thinking about you when you walked in, he says.  I find that a bit disturbing, she says, you listening to that sad music and thinking of me.  Believe me, he says, that music isn't as lovely as you are.  He kisses her, hard, and long, then says, I love you.  She looks suspicious and unhappy, and doesn't respond.  Did you hear me? he asks.  Yes, she says, but we can't have it this way, you don't know enough about me.  (Did she call him Tim?)  I know what I feel--and you feel, he assures her.   We like and enjoy being together, she says, that's the way it should be--a good time and joy of being together, no sadness or regrets.  You don't believe a word you're saying, he says.  Yes, I do, says Amanda--I know what's good for us and what isn't.  Look at me, he says.She does, finally.  You tell me you don't love me, and never could, he asks--come on, if that's the way you really feel, tell me.  She goes into his arms, wondering, why did I have to meet you now?--why must it be this way?  "I do love you, Quentin, I do," she murmurs.  They kiss, another juicy liplock.  Petofi catches them.  You're a man of endless surprises and impeccable good taste, remarks the Count.  Amanda and Quentin look at him, unsmiling.

Has Edward given you the run of the house, considering you didn't knock? asks Quentin.  It doesn't matter, smiles Petofi, you were far too preoccupied to notice me--it's pleasant to see you, Miss Harris, but I must speak to Quentin alone.  She leaves.  Petofi nods at Quentin, who takes a drink.  She's very beautiful, comments Petofi, but what will you do about your engagement to Angelique?  Quentin hands a drink to Petofi and pours another for himself.  "Break it," says Quentin.  I see, laughs Petofi.  I do admire a man who lives as dangerously as you do--what do you think Angelique's reaction will be?  I don't think she'll be very happy, says Q.  Petofi says, I'd give anything to witness the fury Q you are about to unleash.  What do you want? asks Q.  I congratulates you for a job well and cleverly done, says Petofi.  Q is puzzled.  You disposed of Barnabas Collins, says Petofi--having Charity Trask drive the stake through his heart was a stroke of genius!  Quentin is stunned.  Barnabas is dead? he asks.  Dead and soon to be forgotten, says Petofi.  Charity must have followed me there, says Quentin--I had no idea.  Admit you arranged it all, says Petofi.  I went there to do it myself, but I failed, do you understand, I failed, says Quentin fiercely.  I understand that you succeeded, says Petofi--how you did it is of no consequence.  I didn't! Quentin shouts--I wasn't responsible for that.  Yes, you were, says Petofi, as guilty as if you hammered in the stake yourself, I assure you--and now, for your next assignment--Julia Hoffman.  Quentin says, I want no more assignments, nor anything further to do with you.  You know you don't mean that, says Petofi.  Yes, I do, I can't go on living this way, insists Quentin.Consider the consequences of cutting yourself off from me, says Petofi.  I have, says Quentin through gritted teeth, and I don't care what you do to me.  Don't think what I might do, says Petofi, think of what YOU might do--think of that lovely lady who left the room just now--think of the consequences to her if you revert to what you were--you are in love with her, right?  Yes, admits Q.  Then I assume you want both of you to stay alive, suggests Petofi, keep the beast from her door, so to speak?  Quentin ponders it, leaning against the window.  That's much better, says Petofi, taking silence as assent.  He puts his hand on Q's shoulder--I assure you you will learn to enjoy your new life--watch Julia day and night--report every move she makes to me--  good day, Quentin.  The Q-man looks outside and hates himself.   Amanda enters and says, I met Petofi once before--he was frightening!  You have every reason to be frightened, agrees Q.  Why did he come to see you, what does he want from you? she asks.  More than I'm willing to give, says Q.  Amanda doesn't understand.  Quentin slams the window closed and doesn't answer.  What's wrong? She asks.  He looks at her and says, we're going away together, it's the only way out--we'll leave, get married, never come back!  We can't, says Amanda--I can't.  I thought you wanted to leave Collinsport? He asks.  I do, she says, but...  I'm giving you the opportunity, what's to stop you? he asks.  Impossible she says.  Do you love me? he asks.  Yes, she assures him.  Then it's possible, he insists.  It can never be, she says--I can never love anyone, nor can I be loved.  I've never met a woman more deserving of love, says Quentin.  Please don't say that, she begs.  He puts his arms around he and says, in my whole life, I've never met anyone like you--I never felt this way, he says caressing her shoulders, I never knew what it was to be in love like this.  She turns to face him--stop talking like that, she begs--it can never work out between us, I can't explain it, I can't...and she runs away.  Quentin looks after her as she retreats, perturbed.

Petofi smokes a big cigar in his lair, lighting it from a candle.  He suggests to Tim, let's be frank--your obvious reason for coming to see me--currying favor by bringing me information.  Tim insists, I naturally thought you'd be interested to hear it.  If you want to earn my gratitude, says Petofi, you'll have to do far better than that.  Tell me what I must do, asks Tim.  Petofi asks, do you know anything about I-Ching?  Tim doesn't.  Oldest form of mysticism and divination in the world, says Petofi--it can produce miracles, or lead to disaster, and one can't tell which--I want you to assist me in an experiment by going into the I-Ching trance.  What does it involve? asks Tim, any great danger?  There's no adventure without an element of danger, says Petofi--does that frighten you?  What's in it for me? asks Tim.  Find what I'm seeking, says Petofi, and name your own price.  Tim looks intrigued.  Just what is it that I'm looking for? asks Tim.  I shall tell you after I explain how I-Ching works, says Petofi, leaving the room.  Tim stands, walks a few steps.

Quentin answers a knock at the door--Julia.  You're taking a big chance coming here, he warns.  I know, she says, I won't stay long.  He quickly ushers her into the drawing room and closes and locks the doors.  Have you heard the news about Barnabas? she asks.  Yes, he says.  I have a message for you from Barnabas, she says, something he told me before he was killed--"He said that if anything ever happened to him, I was to come to you right away and have you leave Collinsport immediately--he said you were under enormous danger from Count Petofi."  I have realized that myself, says Quentin--I'd advise you to either leave Collinsport or return to your own time.  I can't leave now, she says.  There's nothing here to keep you, insists Quentin.  I must finish some things Barnabas started re: the Collins family she says.  If you stay another minute, you're crazy, he says urgently--I know what I'm talking about.  Petofi is convinced I will eventually show him the way to the future, says Julia, so he can't kill me--you are the target and must get out before he traps you here forever!

Petofi has Tim sit before the thrown I-Ching wands--concentrate on the door, orders Petofi, then pass beyond it--and remember everything you see beyond the door--that's vitally important.  Tim concentrates, the wands spin.  We see the Collinwood drawing room, Amanda being approached by someone in a hooded cloak.  The figure strangles Amanda, who pulls off the hood to reveal a hideous devil's mask.  She tries to flee, but the figure catches her.  Terrified, she cries out, No!, but it approaches her, it's horrible eyes glittering.She pushes off the mask to reveal Quentin, who laughs as he gleefully strangles her!

NOTES:  We saw a strange clue--Julia putting a filled hypo into her doctor's bag.  Why?  Quentin dismisses his engagement to a witch awfully easily; does he really think Angelique will let him marry someone else?  She's been there, done that, and one suspects won't allow yet another Collins male to escape her clutches.  Petofi seems willing to sacrifice anyone to learn what he needs to know about I-Ching.  Human beings are nothing but lab rats to him, all dispensable.  Quentin really does seem to love Amanda, he never spoke that gently or sincerely to poor Beth, who seems to be really getting into becoming one of Petofi's minions.  Poor Q, learning Charity finished what he couldn't even start--and his friend is dead, for real!

Love, Robin

842 - Barnabas is horrified to see what has happened.  Hearing quickly retreating footsteps, he yells up the stairs, his face a mixture of guilt and misery, "Aristede, you're a dead man, do you hear me?  I will kill you for this!"

Barnabas returns to Julia, removes the gag from her mouth and takes her pulse.  He listens to her heart, then gently slaps her face.  She's alive!  Can you talk? He asks, but she's already said his name aloud.  Do you feel any pain? He asks.  No, she answers.  The bullet couldn't have missed you, he says.  I felt it hit me, she says.  There's no blood or wound, says Barnabas--how is this possible?  I don't understand, she says.  We must go, insists Barnabas, Petofi will return.Barnabas notices a bullet hole in the back of the chair, leaving both of them in disbelief.

At Collinwood, Petofi comes downstairs and runs into Angelique, who is just getting in.  I'm looking for Quentin, says Petofi, where is he?  I don't know, she replies.  You're his fiancee, Petofi reminds her.  But I don't own him, says Ang.  But it has occurred to you, smiles Petofi.  It was nice seeing you again, she says sarcastically, and starts to go upstairs.  He stops her--since Quentin isn't here, I'd like to speak to you, especially the utter absurdity of your marriage to Quentin.  I find nothing absurd about it, she says.  Does he know everything about your? Asks Petofi.  Yes, she says.  Does he know you aren't an ordinary being?  In the first place, it's none of your concern, says Ang.  You'll learn that it is, says Petofi--Quentin and I have just made an agreement, and under those terms, Quentin has no choice but to do as I say, and if I tell him to call off the marriage, he must do so.  Quentin isn't a piece of property, says Ang, he doesn't belong to you.  In fact, my dear, laughs Petofi, he does.  I don't believe it! insists Angelique.  Ask him next time you see him, advises P--in the meantime, I have no objection to this marriage taking place.  How magnanimous of you! she says.  As long as you understand you must not interfere with my plans, he adds.  I'll do whatever I need to, she says--you don't control me.  He moves in close and says, it's a pity that isn't the case--that we've been at odds for so long--has it ever occurred to you what power we could wield together?  Are you making me an offer? she asks.  Consider the possibility, he suggests, of such an alliance.  I'm not interested, she says.  Your ulterior motives still elude me, remarks Petofi. I have none, she says.  Surely you aren't marrying Quentin merely for the sake of becoming his wife? asks Petofi.  She turns away--we have nothing further to discuss, she says.  He bursts out laughing--at her, and himself, for misjudging her so completely--I never suspected your motives might be so human, feminine--"You're in love with him, I see it in your eyes, you of all creatures are completely in love!--tell me, my dear, what human emotion will you aspire to next--compassion?"And he laughs uproariously at her, pissing her off.

Rectory - Julia sips a cup of tea.  I still feel a little weak, Barnabas, she says.  By all rule of logic, she should be dead, he says.  I know, agrees Julia.  The bullet must have passed through you, he says, we saw what it did to the chair.  I have only one explanation that makes sense, says Julia--when you came back to the past, your physical body remained in the future; the same thing must have happened to me.  That doesn't account for the fact you went unharmed tonight--I'm still vulnerable, why aren't you? he asks.  Because YOU existed in this time before, she explains--you had a host body here to receive your essence, I didn't.  Meaning you're here only in essence, he says.  (This was cool.)  My physical being is still in the present, she says.  Incredible, comments Barnabas.  Delighted, Julia says, this means I'm not in any danger at all from Petofi, there's no way he can harm me while I'm here.  But you did feel the impact of the bullet, Barnabas reminds her, and it did leave you weak.  All psychological, says Julia--I expected to be killed when the gun went off, and I simply reacted accordingly.  Let's hope you're right, says Barn.  I know I am, she says, and I must give you a second injection before dawn.  Are you sure you aren't too weak? He asks.  I've worked out a strict schedule for these things, she says, and it's important we follow it.  Even if the injection does work, says Barn, we need someone else to help with our plans--the only one capable of doing it--Angelique.  Julia is startled--Angelique?--she's here?  Yes, she put in an appearance about a week ago, says Barnabas (?), a week after I arrived from the present.  "She's the perennial bad penny, isn't she?" asks Julia bitterly.  Yes, and it pains me to have to go to her for help, admits Barnabas, but I have a feeling this is one time she'll be more than willing to help--she's planning to marry Quentin Collins.  Does he have any idea what she is? asks Julia.  Yes, says Barnabas, but she's managed to maneuver him into it--now that Petofi is on the scene, he's a threat to her--they've already fought twice, and she'll be more than willing to take our offer--we must get to her immediately.  I'll get a message to Angelique in the morning and have an answer for you when you awaken that night, promises Julia--take off your jacket, we have to get this done (LOL, no comment from me!)  She remoes items from her doctor's bag.

The Mill - Tate paces.  Petofi comes downstairs--did you receive my note? He asks the artist.  Yes, I did, rages Charles, you said you'd be here, but I've been waiting two hours!  I had a pressing matter to attend to, says Petofi--hasn't Aristede been attending to you?  Aristede isn't here, says Tate.  How odd, remarks Petofi, I left him with a job to do, he should have finished and been back by now.  Petofi checks the back room, sees the ropes, gag, etc., and says, "So, Barnabas Collins was willing to risk his own neck to save his lady friend--she must be very important to him indeed.  They will both pay for this--with their lives."

Rectory - Julia sips tea and answers the door--Angelique, whose is stunned at the sight of Julia.  "Your eyes are not deceiving you, I am who you think I am," says Julia matter-of-factly.  Angelique, smiling, asks, how can you be?  You're here, Barnabas is here, why not me? asks Julia.  But you're not like Barnabas and me, you're...  "Human?" finishes Julia.  I don't understand, says Ang.  I'm here, what is there to understand? asks Julia.  How you came, and why, says Ang.  Barnabas needed me, says Julia.  "I see you haven't changed--always ready to help Barnabas whenever he NEEDS you," says Angelique bitchily.  Let's get directly to the reason I sent for you, suggests Julia.  Ang says, "The pursuit of Barnabas Collins can lead to nothing but misery--he is a cold, harsh, unresponsive man."  In a voice throaty and angry enough to cut flesh, Julia retorts, "Who made him that way?"  Angelique relents--why did you send for me?  Barnabas needs your help, says Julia.  That comes as no surprise, says Ang--"I hope he didn't bring me all the way here to tell me that, he could have told me himself."  I'm here for another reason, Julia explains--I'll tell you what that is after I hear your response.  I told Barnabas, many times, what a fool he is not to return to his own time, says Ang.  He couldn't go back before, he hadn't finished his work here, says Julia.  His work will NEVER be finished here, insists Angelique--he's changed history too much.  Please help him, pleads Julia.  Why should I? Ang asks.  You have everything to gain, says Julia--Barnabas told me about your relationship with Quentin.  That has nothing to do with Barnabas, says Ang.  If you don't help Barnabas, you might never get Quentin, warns Julia--something has happened that has placed him under great obligation to Petofi.  Petofi won't prevent my marriage to Quentin, insists Angelique.What good is it to be married to someone who's loyalty lies elsewhere, not really yours? queries Julia--do you want to defeat Count Petofi?  If I couldn't accomplish that, asks Ang, how does Barnabas expect to defeat him?  He can't, not alone, anymore than you can, says Julia, but Barnabas is convinced that, with your help, he has part of a plan, and you can help him realize it.  What is the plan? she asks.  What is your answer, demands Julia.  I insists on knowing what Barnabas has in mind before I commit myself, says Angelique.

Petofi reports to Tate--it's most disturbing--Aristede is no where to be found.  Stop worrying about Aristede, says Tate--he always comes back.  I think Aristede is afraid to face me after bungling the job (how does he know for sure he bungled it?), and he should be afraid, I'm most displeased.  Just tell me what you want, demands Tate, you're trying my patience.  We must not interfere with your proper rest, says Petofi--look at the I-Ching wands and book.  I know nothing about them, says Tate.  This surprises Petofi.  Think back to the days before I made you so respectable, to the acquaintances you had then, says Petofi--rather curious people, some even dabbled in the black arts, if memory serves me.  Yes, admits Charles.  Which of them practiced this form of divination? asks Petofi.  Tate thinks it over.  Petofi can see he is recalling something, and that it pains him.  You shouldn't be toying with these things, says Tate.  Why not? asks Petofi.  Because if you haven't mastered them, they can be very dangerous--I saw them used once, says Tate, in an artist's apartment in New York--a woman went into a trance and started to scream that someone was trying to kill her--and after she got out of the trance, her hair was white and she was completely mad.  So, Dr. Hoffman was telling me the truth, realizes Petofi--thank you, Charles--I still will go the future, but will use greater caution--I must find a way to use the I-Ching without placing my own life in jeopardy.

A smiling Angelique tells Julia, "It's a very clever plan, Julia, one that won't be easy to execute, but that doesn't bother me."--since it may dispose of Count Petofi, I'll help.  Julia smiles back at her--how do you plan to do it? she asks.  Angelique expresses curiosity about Julia's role in all this--these injections she's giving Barnabas, what guarantee do you have that they will work?  There's no guarantee, says Julia, but I think the chances are very good.  Then I'm convinced he's a fool! cries Angelique--if he really can be cured, he'll have what he's wanted for almost 200 years--go back to the future and live a normal, happy life.  (She looks wistful and pleased at this prospect.)  What are you going to use to provide us with what we need? asks Julia.  Ang smiles.  This is no time to be mysterious, insists Julia--tell me the answer!  Angelique glances at herself in the mirror, promising Julia, you will know soon enough.  The witch exits, leaving Julia frustrated and annoyed.  Julia looks at the mirror, where Angelique's smiling reflection suddenly appears, then disappears.  "Yes!  Yes it WILL work!" exults Julia.

Rectory - Barnabas tells Julia, we must get another message to Angelique, letting her know it must be done sooner than we thought.  Why? asks Julia.  We can't give Petofi too much time to maneuver, asserts Barn--by now he knows you aren't dead, and will make another move against you.  He can't harm me, says Julia.  I know, says Barnabas, and I also know Petofi will realize that, sooner than we think, and he'll change his tactics and harass you to the point that you won't be able to help me.  Then I must stay in hiding, says Julia.  Yes, says Barn, but it won't keep you out of Petofi's thoughts--we must get this thing going before Petofi make another major move.

In Tate's studio, Amanda gazes at his portrait of her.  He returns to find her there.  Are you having second thoughts? He asks.  I had to see the painting for myself, she says, but I don't know what to think.  You still doesn't believe what I told you? he asks.  If you were me, would you believe it? she asks.  I guess I wouldn't want to believe it, agrees Tate.  At least you understand how I feel, she says.  I never saw you before doing that portrait on March 11, 1895, he says--that's the first day you remember anything.  We've already been all over that, she says--I didn't come to rehash it.  Then why are you here? he asks.  Just to look at it, she says.  No, he insists, you came here to find out if I told you the truth.  It if were the truth, she says, I wouldn't want to know about it--to know I could be some kind of unnatural creature, a figment of someone's imagination, is frightening!  Don't you think it's frightening to me? he asks, that I have some kind of strange power?--I've seen it!--I'll show you!  He takes his sketch pad, intending to give her a little demonstration.  You already did that before and nothing happened! she reminds him.  I can't explain that, he says, I have no more idea about this power than you do.  There is no power! she cries, it's just coincidence.  Let me prove it to you, he asks, drawing away--it's almost finished.  She walks over--he's drawing a picture of a man with no name and no previous physical existence.  He finishes the sketch and says, this is a man totally created by Charles W. Tate.Amanda screams, covering her face.  "I don't believe it!" she cries, and runs from the studio.  Standing there is a flesh and blood man who has stepped right from the sketchpad of Charles Delaware Tate!

NOTES:  Pretty nifty talent you've got there, Chuck!  I have a long list of people and things you can draw for me, but start with the gorgeous house overlooking the ocean with lots of windows and brightness!

I always love the antagonism between Julia and Angelique over Barnabas, and even more, I enjoy their uneasy alliance over a man with whom they both share a past.  When Julia asks WHO MADE HIM THAT WAY?, Angelique is forced to back down because she knows Julia is right.  It's one of my favorite DS scenes.  I still don't know how Petofi figured out that Aristede's plan to kill Julia went awry, unless it's because there was no blood anywhere.  Aristede would have mopped it up, though, since Petofi hates the sight of it, right?

The Tate/Amanda stuff could have been left out, but otherwise, this and the previous ep were two of my favorite DS eps within the framework of 1897.


843 - Tate is horrified to realize he created a man just by drawing him.  Who are you? he asks the man--how did you come to be here?  When the man approaches him, Charles grows terrified--don't come any closer! he orders.  Tate holds up his sketch pad above his head, then removes that page from the pad and threatens, I can destroy you as I created you!  The poor guy gazes up at the sketch, which Charles tears in half.  The man is still here--Tate can't believe it.  He grabs him, shakes him, demanding, "Who are you?"  The poor, stricken creation just stands there, staring, silent and terrified.

Collinsport Inn - What do you mean? Tim asks Amanda.  Tate created me, she explains, and now, somehow, my life makes a crazy kind of senses.  What you has told me makes no sense at all, insists Tim.  Then why can't I remember anything before March 11, 1895, before Tate sketched me? she asks.  The reasons your past is lost have nothing to do with Tate, says Tim--the man's conceit must be incredible to imagine this.He isn't imagining this, says Amanda, I saw him create someone else--Tate sketched a man and that man appeared--came to life in the room.  This gives Tim something to think about--toy and I are going to visit Tate, he says, taking a gun into his hand--right now!

Tate is grabbing and shaking his creation, demanding, tell me what you feel--tell me!  He threatens him, only stopping when he hears a knock at the door.  He wrestles the poor guy into a closet and locks him in, then takes the crumpled sketch and drops it into a garbage can.  It's Tim and Amanda.  You know why we are here, says Tim--nothing will happen to you.  Tate finds a rather curious thing to say--why would it?  Last time she was here, says Tim, she saw you create a man--saw your sketch come to life.  Take her to a doctor, advises Tate, if you believe that.  Tim asks, what have you done with the creation?  Nothing, Tate says nothing--the three of us are alone.  I want to check that out for myself, says Tim.  Tate's objects--I don't like people poking around in my studio--however, since your accusation is so bizarre...  There WAS a man, insists Amanda. Your state of mind is so extraordinary, says Tate, and agrees to allow Tim to search.  Tim checks one room, finds it empty.  Amanda tells him to look in the sketch pad, but he only finds a sketch of Amanda.  For Trask's portrait of Miss Harris, says Charles.  Amanda tells Tate, you must not paint me!  You've looked through my studio and didn't find either sketch or man, says Tate, so how long will you believe the unbelievable?--take Amanda to get the help she needs.  Amanda, upset, insists, I saw the sketch and the man!  Tim wants to go.  You must believe me! says Amanda, and shows Tim that someone is trying the doorknob across the room.  Tim finds the door locked and takes the gun from his pocket--I'll see what's behind the door--"Shall we?"

I only have a few clothes and supplies in that closet, says Tate.  Tim wants to check for himself, and asks for the key.  I don't have it, says Tate.  I have a gun, says Tim, surely you have a key.  He points the gun at Tate, who relinquishes the key.  Tim unlocks the closet and opens it.  He pulls out the man Tate sketched.  Amanda screams and identifies him--this is the man he created, just as he created me.  She's crying.  I didn't mean to hurt you, says Tate.  Leave me alone, demands Amanda, falling to the sofa, sobbing.  The creation looks totally flabbergasted.  Tim is delighted--you created Amanda and this man--how?  It just happens, says Tate.  Have you made these creatures often? asks Tim.  Perhaps, answers Charles, I don't know.  Draw me one right now, orders Tim.  Tate refuses--I won't do anymore.  Think of the possibilities, suggests Tim.  I have, and it terrifies me, says Tate.  Not me, says Tim, I'm fascinated--in fact, if you don't draw me one, Ill take this one with me.  You can't, insists Charles, darting forward.  Yes I can, says Tim, dragging the creation away with him--take care of Amanda, says Shaw--but I'm sure you'll do that.  Amanda sobs heartbrokenly.

Petofi adjusts his glasses and tells Beth, I've been expecting you--the other night, you came to the end of one road, now you must find another.  I thought a great deal about myself and my life, since. . .   "you tried to kill Quentin?" asks Petofi.  I don't want to talk about it, she says.  Accept things for what they truly are, he advises--you tried and failed to murder Quentin--what happens now?  I'd like to come and work for you, she says.  Why? he asks.  Things go so well for you--I think I can learn from you, how to make my life over in your image.  It's a touching tribute you've painted, he says--I might need you, considering my last aide-de-camp decamped under enemy fire--what can you do?  Look after things, and people, she says, do what you want me to do.  My needs are quite different from ordinary ones, he says--however, I can assure you you'll find the rewards far more enduring than a room in the servants' quarters or a smile from Quentin.  I don't care about Quentin anymore, she says bitterly.  Good, he says, if I employ you, your devotion must be to me, even if it costs you your life.  My life is worth little to me, says Beth.  I have decided to employ you, he says, but before you decide yes, know and know well that there is no turning back, changing your mind, because if you do, I assure you your life will be worth nothing--and no further nonsense about Quentin--will you accept that situation?--think carefully.  Smiling, she says, there's no need to think--I've found what I'm looking for.

Amanda looks at the sketch of herself and asks Tate, what do I do now?  He turns her face around to his and says, let me take care of you--marry me, please.  How can you propose to something unreal? she asks.  You aren't unreal, Charles insists--we can touch, feel, love.  Love? she asks--I can never love anyone--no one can love me.  Give me a chance, he begs.  I've already seen, says Amanda--I used to wonder what I was like in the time before I could remember--I saw that man unable to speak, trembling with fear, finding himself in a world in which he doesn't belong--I saw that creature and saw myself.  It's nonsense, says Charles, look at me, you can love.  He tries to kiss her, but she pushes him away.  No, but I can hate, she assures him, and I hate you, for finding me and proving what I am--Charles,I hate you--I wish you'd left me alone!  She exits the studio, leaving Charles devastated.

Petofi asks Beth if she knows anything about I-Ching.  Quentin explained them to me, says Beth--they frightened me.  Petofi advises her, lose that fear, because I'm sending you through one of the 64 doors of change.  Beth looks scared.  I want you to describe your journey, says Petofi.  Is  it' dangerous? She asks.  It could be, he says, no one knows what lies beyond the door, but dangerous or not, you do it because I tell you to.  It's clear, says Beth.  Cast the wands, now! he orders.  She takes them nervously in her hand and throws them onto the table.  Petofi arranges the hexagram--#23--Po, the hexagram of falling.This scares Beth.  Words mean nothing until you see what's beyond the door, says Petofi--concentrate, and tell me exactly what you see.  She starts to leave the room, but Petofi raises his hand--for the very last time that there is no turning back, he reminds her.  She returns to her seat.  This hexagram fascinates me, says Petofi--the top wand undivided would mean a chariot waiting to take the superior man wherever he wants to go.  Yes, that could be the one, the hexagram that will take me to the future!  Hurry, he says, concentrate on the door, on opening the door, until your astral body passes through the door.  Beth concentrates.  The wands twirl around, then appear on the door.  I can see the door, se says--it's opened.  Pass through it, he orders.  She does; it closes behind her.  What do you see? He asks.  She screams.  What is happening! He demands anxiously.  She takes a knife and stands, her face murderous, holding it as if to stab him.  "I'm going to kill you!" she cries.  No, he says, forcing her to drop it--you must tell me what lies beyond the door.  Shadows, she says, only shadows!  I'm puzzled by the meaning of shadows, he says, brushing the wands off the table, but feels it's best you recover yourself for the moment.  You've done well despite your fears, he praises, you will have other chances to serve me.  He locks her in his other room.

At the hotel, Tim talks to the creation--I know you understand me, he says and you can also speak if you want--still afraid, he realizes, but for the 100th time, you shouldn't be, I can keep you out of harm's way as long as it's necessary!  The creation sits, silent.  I promise you, says Tim, gazing out the window.  The creation, looking very sad, stands and looks at the door, then goes over and touches Tim on the shoulder.  Tim turns around, delighted--yes, you can trust me, I'll protect you, no harm will come to you--but tell me everything you can--everything!  The creation opens his mouth, about to spill all.Tate enters and asks, "Are you sure about that, Mr. Shaw?"  How did you get in? demands Tim.  I was quiet, replies Tate, and you were occupied.  Just in time, says Tim--I've persuaded him to talk--he will talk.  Charles raises a gun and shoots the creation, who falls to the floor.

NOTES:  Poor creation, no name, no dialogue!  Life can be tough for a DARK SHADOWS bullseye!

The angst of Charles D. Tate holds little interest for me.  Neither does Amanda, really.  Where she came from, who she is, I just haven't seen enough of the character to feel much of anything for her.

Right now, I feel sorriest for the cute-looking nameless fella who was shot by Tate.

Love, Robin

838 - Angelique's intro tells us that Quentin avoids contact with other human beings--only six more hours remain to this day.  He has locked himself in his room, waiting for either salvation or death.  Six more hours, thinks Quentin, it can't happen, Jamison would never turn me away--and who would try to kill me tonight?   Petofi knocks at his door.  Of course, Quentin figures, HE could be the executioner.  Petofi continues to knock--I must speak to you, he insists, you must let me in.  Quentin walks further away from the door, trying to decide.  We see a close-up of an 1897 calendar, homing in on September 10th.

Quentin nervously licks his lips, wondering, is it safe to let Petofi in?  It's imperative you open the door, says the Count.  Quentin walks slowly toward the door and, without opening it, asks, what do you want?  Petofi explains--Charity came to me several hours ago--she said she had a vision in which she foresaw you dying before the end of the day.  Are you really surprised by what she told me? asks Quentin.  I was, indeed, says Petofi--I want to guide you safely through this dangerous night.  This gives Quentin a sick chuckle--YOU guide me safely?--how to I know you aren't my killer?  I wouldn't harm you, Petofi assures him.  I'll believe that, says Quentin--tomorrow!  Do you refuse my help? Asks Petofi  I'm safe in my room, behind a locked door, says Quentin.  See that you stay there until after midnight, advises Petofi--good luck.  Thanks for the concern, says Quentin sarcastically.  Petofi exits Quentin's living quarters.  Jamison watches him go, then enters the outer room himself and knocks at Quentin's door.  It won't do you any good; Petofi, cautions Quentin, I'm not opening the door.  "Quentin, it's Jamison, let me in," says the boy.  Quentin opens the door (idiot!), lets his nephew in, then closes it.  Thank you, says Jamison, for helping me get better--I haven't spoken to you since I was ill (?)  You don't have to thank me, says Q, I'd never let anything happen to you.  He kneels so he and Jamison are eye to eye--do you know that? he asks.  Of course, says Jamison--we're best friends--I've missed seeing you, you've spent so much time away from Collinwood--why?  Lots of reasons, says Quentin--after tonight, I'd like to spend more time at Collinwood--and with you.  Jamison, delighted, says, I'd love that!  This pleases Quentin.  Is something  wrong? asks the boy--the way you were, you didn't seem yourself.  I haven't been, for a few days, admits Quentin--I've been thinking about the long hikes we took, the games we played, how we used to pretend to be two different people--do you remember? Of course I do, says Jamison--they were such happy times.  Quentin is relieved to hear him speak this way.  Why can't it be that way again? Jamison asks.  You'd really like that, wouldn't you? asks Quentin.  Of course I would, replies Jamison.Maybe it will be, after tonight, promises Q, kneeling and holding Jamison in his hands.  Quentin stands, pinches his nephew's cheek, and says, You've made me feel better already--I don't feel like being cooped up any longer.  Together, they leave.  (OH, NO!)

It's 8 PM.  Quentin heads downstairs, a spring in his step.  Beth joins him--where have you been? she asks.  I was working in my room, he says.  (uh oh, deja vu, folks!)  Every time I want to see you, you've been busy, complains Beth--I just want to know why you've been ignoring me.  I've been really busy, he answers evasively, but doesn't look at her--family affairs have been taking up all of my time.  Beth doesn't understand--you didn't used to concern yourself about such things.  As in the ghost-Beth's explanation to Julia, Quentin angrily retorts--it's happening now, and I don't see why you can't understand that--I'm still a Collins.  That wasn't what I meant! protests Beth.  I don't care what you mean, he retorts.  Beth is hurt.  I don't want to talk about it, he says, I can't--and he goes upstairs.  Angelique opens the double doors and asks Beth into the drawing room for a "frank conversation."  Once inside, Angelique breaks Beth's heart by telling her, "I am engaged to Quentin."The scene plays out exactly as the ghostly Beth related to Julia--Beth runs from the room, sobbing; Angelique declares that you'll get over it in time, everyone does.  It's 8:10.

10:10 - Beth, looking sad and miserable, sits in her room with the bottle labeled POISON.  The same scene plays out (two for one, Curtis obviously used the same exact scenes in both episodes).  Jamison comes to her room, shows her the puzzle, and figures out she is going to take poison because of Quentin's betrayal and engagement to Angelique.  He makes her promise not to take the poison, takes her hand and assures her he'll come back later--"There's something I must do."  Beth withdraws a handkerchief from her dresser to wipe her eyes and comes across the gun.

Angelique and Quentin play out their scene--she reveals that she told Beth where she stood, believing it her duty, and the two of are caught by Jamison in mid kiss.  He demands to speak to Quentin.  When Angelique leaves the room, they have the fight about Quentin's engagement to Angelique.  Jamison can't understand why his uncle is marrying someone else when he claims to love Beth, and reveals the lather's intention to kill herself.  Quentin explains he's too young to understand--it's a grown-up thing.  All I understand, says Jamison, is that you have hurt someone I love--I don't want to speak to you anymore, nor see you, or have anything to do with you--"I HATE YOU, QUENTIN!" he screams, perhaps sealing his uncle's fate.  I did it for you! Quentin yells after him, to save your life--"I loved you, Jamison," says Quentin, looking at the chiming clock.  It's 9 PM, and he's been rejected by the one person he truly loves.  Quentin, terrified, locks himself in the drawing room.

Beth rises from her bed and takes the gun in her hand.  She hides it under her shawl, a determined look on her face.

Quentin paces the drawing room and hears the clock chime midnight.  It's over, he tells himself, relieved.  He hears Beth knock at the door and eagerly lets her in.  The clock is just chiming midnight as he says, I'm so sorry, I didn't want to hurt you, I tried to tell you, but couldn't find the strength.  He takes her in his arms, explaining gently, I didn't have any other choice.  "Forgive me, Beth," he says, holding her close.  "Forgive me."  He realizes that she's pointing something at him and quickly releases her, backing away in horror as he sees the gun.  "It's you!" he says.  "No!"

You don't know what you're doing! Insists Quentin desperately.  Yes, I do, she says angrily--I almost killed myself because of you, but now I have to save myself--as long as you're alive, I'll love you, I can't help myself, but I can't accept seeing you with another woman!  This isn't the answer, he says.  It's the answer for ME, counters Beth.--I'm thinking like you now, I'm going to just look after myself and do what's best for me.  She's just about to shoot him when Petofi, standing in the doorway, demands, Beth give me the pistol.  No, says Beth petulantly.  He reaches out his deformed but powerful hand and takes the gun from Beth.  She retreats to a chair, crying.  "Well, my boy," says Petofi, "are you ready to trust Petofi now?"  I never dreamed it would be her, says Quentin ruefully.  Considering the number of women you've scorned, says Petofi, it's incredible this hasn't happened before--go to your room and pour yourself a drink--I'll be with you after I attend to Miss Chavez.  Quentin leaves.  Petofi goes to the crying Beth--leave Collinwood as soon as possible, he advises--your part in this drama has been played out, and it would be most unwise for you to stay any longer.  He leaves.  Beth cries hysterically, unable to believe her love for Quentin has come to this.

Quentin, in his room, pours himself a drink.  He invites Petofi in when he knocks, and thanks the Count for saving his life.  "Your life was never really in danger, once I decided to change your fate," says Petofi.  Why did you? asks Quentin.  I already told you, I like you, says Petofi and now I've come to ask for my price--to perform a very great service for me--since Barnabas is such a great friend of yours, I want you to find out how he came to 1897 from the future, and how he intends to return--he can't know you are doing this for me.  In other words, you want me to become an informer--no, says Quentin.  You can refuse me nothing now, says Petofi.  If it's payment you want for saving my life, says Q, I'll do whatever I think is reasonable.  You'll do whatever I tell you, insists Petofi--you don't understand the extent of my influence on your life--if not for me, you'd have been prowling the woods last night, looking for another victim--I prevented that, doing what no other living soul could ever do--I ended your curse.  I don't believe that, says Quentin.  Then why didn't you change last night? queries Petofi.  I don't know, admits Quentin.  Didn't things become clearer when you came home and saw your portrait last night? asks the Count  That portrait wasn't of me, says Q..It was, says Petofi--it had the face of the werewolf because the moon was full.  "You mean..." asks Quentin.  Look at your portrait now, advises Petofi, see what I mean.  Quentin turns and takes out the portrait in his closet, which now looks like his normal self.  "The portrait changed, Quentin, and you did not," explains Petofi--"What would you give if you could always look as that portrait looks now?"  Anything, says Q.  "And so it shall be," says Petofi.  "You'll find the betrayal of a friend is a small price to pay for what I can offer you--you're impressed, I can see it--you've decided to join me and betray Barnabas Collins--and a very wise decision it is, too--yes, my dear boy, now you belong to Petofi, and who knows, perhaps to the ages!"

NOTES:  Talk about a devil's bargain, whoa, baby, which way will Quentin go with this one?  It's true, Petofi has saved his life and lifted his curse, giving him immortality in the bargain, but will the new, improved Quentin really accept Petofi as lord and master?  Stay tuned.

I wondered why Barnabas wasn't with Quentin during this all-important evening, but I assume he was with Julia.  You would think he would have at least sent Magda to check and see what's going on and report back to him, but his influence was no where in sight.  Excellent scenes between Thayer David and David Selby, and between David Henesy and Selby.


839 - Quentin stands outside the rectory, thinking to himself, "That's where Barnabas is--where he waits for me--can I betray him?  A wolf howls.  What if I don't?  Petofi...I'll leave Collinwood, he'll never find me, all will be different, and Barnabas safe.  And I, what will I, Quentin, be?  He hears a rustling in the woods and looks away.

Quentin looks up and sees a hideous wolf's head staring back at him.  It disappears, but--I know I must do it, I must!  He goes on.

Barnabas rubs his hands together nervously.  Julia lies in bed.  He calls to her--surely you remember me, Barnabas, he reminds her.  She opens her eyes, but still looks blank.  He shows her the letter he wrote her--surely you remember finding it--you had it with you when they found you outside Collinwood--you came back in time to help me, you must try.  She touches the letter and says, "The letter."  You read this in the future, he says, and now you're back in 1897.  The clock strikes one.  Julia says, "One o'clock."  This September 10th is past, Barnabas tells her.  David, she murmurs, upset.  What about him? asks Barnabas, begging her, try to remember.  Barnabas hears Quentin call him.  Come upstairs! he yells.  "Thank God you're alive," says Barn.  Quentin indicates Julia and asks if she's out of it yet.  No, says Barnabas.  Charity was right, says Q, Beth tried to kill me--I deserved it, I couldn't explain that while I have no feelings for Angelique, I must marry her.  What stopped Beth from killing you? asks Barnabas.  Petofi, says Quentin, he just happened to come into the drawing room at the right time.  Do you feel grateful to him? asks Barnabas.  I'd be grateful to anyone who did that, says Q.  He isn't anyone, Barnabas reminds him--nor has he done anything FOR anyone, without expecting something in return--come to me if he makes any demands on you, says Barnabas.  I will, Quentin assures him.  Are you sure? asks Barn.  Of course, says Q, why wouldn't I be?  Julia stirs, moaning.  Barnabas goes over to her.  Quentin is all right, Barnabas says--do you understand?  Julia begins to cry.  Quentin asks why.  Oh, no the wreath on the door, mutters Julia--Elizabeth, Carolyn, don't cry, Carolyn, don't cry.  Barnabas asks, why is Carolyn crying?  Don't run out of the room, Carolyn, begs Julia, stay, Elizabeth, Roger...  Barnabas tells Quentin--Julia is watching the family in the future, watching them this very minute--she is caught in time, trapped between two worlds, she isn't able to see or do anything about what's happening--tell us what you're seeing, Julia!  The door...the door with the funeral wreath, mutters Julia. . .Roger...  We see a funeral wreath hanging on a door, Roger with tears in his eyes.  He enters the room where David is laid out--David is dead.  David is dead! repeats Barnabas.  Roger stands looking at his dead son.  "You did not want to go with Quentin," says Roger, "I know that, David.  A part of you that you still controlled wanted to stay with us, but he was too strong, his power was too great, my son.  Now you have joined him--may you have peace at last--may you BOTH have peace."  Roger starts to walk away, covering his face with his hand in sorrow.  David's hand drops from his chest--he awakens!  Roger turns.  David calls to his father--what am I doing here like this? Asks the boy.  Roger holds him.  "Oh, my son, oh thank God!" he cries."They're gone," says David, "Quentin and Beth have gone, forever!  I was with them!"  Julia rises from the pillow, laughing, repeating, "David is all right!"  Barnabas is relieved.  Quentin asks what it means--"Quentin is gone, what does that mean?  What?"

You must tell me, demands Quentin.  Julia calls Barnabas.  He goes to her, assuring her everything is all right--"You're here with us in the past."  Julia looks around, asking if it's the 10th of September.  He's saved, Barnabas assures her, this is Quentin, and he's no ghost.Julia stares nervously at Q, he looks back.  You look the same, she says, but there's no evil in your face.  "You saw me in the year you came from?" asks Quentin disbelievingly.  Yes, she says, you were with David just before...  David's all right, says Q quickly--you told us that.  Barnabas nods.  How can we believe you? asks Quentin, no one can come back to life (considering Quentin himself did, when resurrected from zombiehood by Angelique, this is NOT something Quentin would say).   Someone could, says Barnabas, if the reason for David's death was eliminated--since you didn't die, there is no ghost, David was never possessed.  I can't live from now until then, protests Q.  How do you know you won't? asks Barn--and even if you should die, you will not have the obsession with David you had.  Why DID I have it? demands Q.  What happened yesterday with Jamison? asks Barnabas--tell me!  Quentin looks evasive.  Did he reject you, Quentin? queries Barn.  Yes, admits Q.  And what are you going to do about it today?  Make him change his mind, says Q defiantly--I'll do anything, I've got to make him understand.  If you'd died last night, says Barnabas, you wouldn't have been able to make that effort, even beyond the grave, you would not have rested, would always have wanted Jamison's love and approval--when you saw David, he was Jamison's reincarnation for you.  Then that means, says Q, I have what no other man has ever had--a second chance.  See that you take it, Quentin, advises Barnabas.  Why did Beth's ghost disappear from 1969, too? asks Q.  Julia reveals that Beth killed herself just after killing you--that's what her spirit told me.  Collinwood is free of its spirits, says Barnabas.  What about the skeleton in my room? Quentin asks.  What skeleton? asks Julia.  Quentin explains that when Jamison was possessed by David, he told me he found my room sealed, and there was a skeleton sitting in the chair beside the desk--if those bones aren't mine, whose are they?  Barn says we'll have to wait and find out about that.  Who would die in my room, speculates Quentin--and seal the room?  We can't answer all the questions tonight, cautions Barnabas.  So, says Q, it seems all my life, I've caused trouble--I really hate having come back and continued after my death.  He excuses himself--I don't want to talk about it--thank you, Barnabas.  Julia, I'm glad you're feeling better--I hope you will tell me about the world you know--Barnabas was very secretive about it.  Don't say anything to anyone about this, cautions Barnabas.  "Who would I tell?" asks Q, and leaves.  Julia rises from bed.  I feel sorry for Quentin, she remarks.  Do you? asks Barnabas.  Is that wrong? she queries--what is it?  I have a feeling something has happened to him, says Barnabas.  "He's just lived instead of died!" points out Julia.  Perhaps it is just the shock, agrees Barn, I hope so.  At least we can go back, says Julia, and you must come back with me.  Neither of us is going back, insists Barnabas.  Julia argues--you accomplished what you came here to do--David is free of Quentin.  But there's still Chris, Barnabas reminds her, still a werewolf--Chris must be a great-grandson of Quentin's.  This shocks Julia.  Quentin has a baby girl, Lenore, explains Barnabas--she's been rejected by the family, but I'll explain that later--the curse applies only to male heirs, and the only male descendant of Lenore is Chris.  (what about poor Tom?)  What can we do to save Chris now? asks Julia.  Quentin didn't change to the wolf when the moon was full this month, says Barnabas, and I must find out why--something to do with a Count Petofi--if I can learn what happened, I can save Chris.  I don't want you to take this chance any longer, insists Julia--you've been lucky, but that could stop.  Yes, my luck nearly has--everyone knows what I am, he says.  "And they're hunting you?" asks Julia, gasping--let's both go back!  NO! he says in his anal retentive manner.  There something I haven't told you, says Julia--when you left, concentrating on the door, your body remained there.  I expected that, says Barnabas.  It disappeared the other night, she says, the night before last, the night I found the letter, which was the only reason I knew you were still alive.  Edward came down to the basement and scattered the wands, says Barnabas--the spell was broken.  "And your body disappeared in the future?" asks Julia--what if you can't get back--what if your body disappearing means that?--we must try to get back together, that way, it might work.  Not while Petofi is still here, insists Barnabas, Quentin won't admit it, but Petofi is determined to control him--I know it--Petofi has already threatened to extinguish the whole family, to kill Quentin, and if that happens, there will be no family, no Quentin, no Collins family, ever!--I know what Petofi is capable of, I must deal with him here, or I'll have to in the future--so you are going to stay here with me!  Julia looks up at him and fondly, resignedly, says, "I always lose with you, don't I?"  (Yes, honey...cause you're in love!)  All right, what do you want me to do? she asks.  I want you to cure me of vampirism, says Barnabas, so I can live in the daytime and deal with Petofi.  I can't do that, says Julia, I don't have the right drugs.  "Don't fight with me!" shouts Barnabas, getting right in her face--"You will use substitutes!"  Impossible, she insists.  He hands her a period dress and tells her of Evan Hanley, who practices the black arts--go to him as a member of the New York coven--when you introduce yourself to him, he will know you (how?) and be afraid not to cooperate--he will help you quickly get what you need--"Now this is what you are to say to him," he says, handing her the dress.

Quentin listens to his music, drinking, looking a lot, for a moment, like Abe Lincoln.  Edward, in night clothes, comes in.  Turn down that infernal racket! orders Edward.  Quentin pours himself another drink and says, swaying, "Don't you sound grim, brother.  Dance to it.  Music is to dance to."  Edward calls his dancing brother disgraceful and turns off the music.  No, the tune is quite melodious, insists Q.  I'm talking of you, says Edward, why are you drunk again?  Do you really want me to tell you, brother mine? asks Quentin--tonight, for once, I can--I have a conscience, brother mine--that surprise you?--it almost does me--I did something that I shouldn't have done--(self hatred creeps into his voice, and his eyes gleam with anger) whatever I did, I shouldn't have done it.  That's why I'm drunk tonight, brother.  He breaks the glass in his hand, with difficulty.  Edward looks really concerned.

3:30 AM - Julia prepares an injection to administer to Barnabas, who has his sleeve rolled up.  It may be painful; she warns, if I had known, I'd have brought my equipment with me--Evan was helpful, not my favorite person, but very helpful, he woke a druggist who was a close friend.  Barnabas winces as she injects him. You got everything you needed? He asks.  No, I had to make some substitutions--this may not work, she warns--you must face that--even if it does, it will be another unknown voyage for you--the change in drugs could affect you any number of ways, and I'll have to keep close watch on you until dawn.  Barnabas shrubs into his overcoat--I must see Quentin, he insists.  You must have another injection tonight, she objects--I can't give you too much all at once.  I'll come back, he promises, but I must see Quentin right away about something.Julia looks extremely worried.

We see Quentin's portrait, and the man himself, drinking, thinking how I'd said to myself how much I'd like to look like that always--I don't ever want to see that face again!  Barnabas comes knocking at his door--when Q lets him in, he tells him to lock it.  Quentin remarks how my cousin likes to take chances.  Barn says I must see you about the portrait.  Quentin drunkenly recommends the artist, Charles Delaware Tate, a master of realism.  Barnabas takes the drink from his hand--sober up, he insists--I saw the painting when the moon was full--it changed but you yourself didn't--why didn't you change?  "The gods laugh sometimes," says Q bitterly.  That's no reason, says Barnabas.  There is none, then, says Q.  There is, insists Barnabas--did you ask Tate?  He can give no reason, says Q.  Did you see Petofi? Asks Barnabas.  No, why would I? asks Q, looking away from his cousin.  Because you know that he was a werewolf and isn't one now, says Barnabas.  "I also know that he's an enemy!" says Quentin angrily, "and an enemy doesn't give kindness or explanations, now that's alllll there is to it, Barnabas--m throat is parched, I have talked too much tonight!"  He holds up his drink as if in a bitter toast.  "You're in charge of finding my mystery, you find out why I didn't change, you discover the secret of the portrait."  Quentin pours more booze.  "I'm tired of secrets, I'm tired of living this way, I want to be decent again, I want to be normal again!  I want to be myself again."  And he drinks.

Thunder rolls.  It's 4:35 AM.  Barnabas returns to the rectory to find it Julia gone, the room a shambles.  "Julia!" he cries--but she's gone!

NOTES:  Julia kidnapped!  So exciting!  We know Quentin did a bad bad thing, and whatever he did, something bad happened to Julia.  Love how Barnabas argued Julia into helping him, against her better judgment.  Love is a tough thing, but Barnabas loves his family, and Julia, who has obviously grown to love the Collinses in the future, loves him for that.

What will happen to Julia now?  To Barnabas?  Will they force Barnabas to give in to their demands using Julia as bait?

How did you like Quentin's little pity party?  Is he becoming a better or worse human being?  He wishes he could be HIMSELF again.  Was that Quentin necessarily a decent guy?

What will become of poor Beth now?

Love, Robin

834 - Charles stares at the mysterious vase.  It's impossible, he says--there was no vase there--I drew it on the paper!  He takes it in his hands and examines it from top to bottom.  He stares at Amanda's portrait, wondering--if I somehow caused the vase to appear, then...no, it's not possible, he says, staring at Amanda's portrait.  Petofi barges in on the befuddled Charles, who is very rude to him.  I'm working--come back tomorrow, insists Tate.  I can't, says Petofi.  I have rights, assets Charles, I'm busy!  I have a few rights, as I need hardly remind you, says Petofi--what has caused this ill temper?  Tate doesn't want to tell him.  Petofi admires the vase--where did you get it? he asks.  I don't know where it came from, says Charles.  Has it always been here? speculates Petofi--I surely would have noticed it.  He examines it, too--it's odd that it has no maker's mark, unfortunately, says Petofi.  It is odd, Charles agrees.  I'd like to borrow your studio for an hour, says Petofi--I'm expecting a visitor (for an hour of what, one wonders).  See your visitors in your own quarters, says Charles.  I took the liberty of sending this guest a note signed with your name, says Petofi.  Tate is angry.  I hate subterfuge, too, agrees Petofi, but it's sometimes necessary--when one has to settle scores with an enemy, for example, and Barnabas Collins is an enemy of all of us...

Quentin's room - Magda enters, looking around.  Barnabas follows her in.  You will be safe here, she assures him, and locks the door.  The moon is full, observes Barnabas.  Magda lights a candle and informs him that the change never happened--Quentin didn't become the wolf--neither of us knows how that can be.  Get Quentin, Barnabas orders.  I must tell you something, she says--I know when Quentin will die--on September 10th!--Charity told me.Charity is mad, says Barnabas.  I found truth in her madness, says Magda.  (Is that the way to find truth, to go nuts?)  You yourself say Pansy Faye had the sight, Magda reminds him--she said the murderer was in the room that night at the Old House.  (Barnabas looks ashamed).  Yes, he agrees, she did.  It's true that Pansy has possessed Charity, and you have six days to do something, says the gypsy.  How does he die? asks Barnabas.  He was shot, says Magda.  Who did it--does Charity know? he asks.  No, says Magda, in her vision, he was dead in the tower.  Why was this room sealed if he died in the tower? Asks Barnabas.  I don't know, says Magda, but Charity did say the tower--you must take Quentin away!  Death runs faster than any man, says Barn--the three things that were to happen before Quentin died--the third, that he would be rejected by the one person he loves, hasn't happened yet, and must not--if we can stop Jamison from rejecting Quentin. . .but first we must find out who is going to kill him.  How? She asks.  I'll have to do it, says Barnabas--find the I-Ching wands, which must be here, since they belonged to Quentin in 1969.  Magda is perplexed.  I'm going to need you, he says, we must learn who killed him originally, by going to the present and speaking with Quentin's ghost there.  Magda calls this idea crazy.  No, says Barn, only the ghost of Quentin can tell me.  If you go and speaks with the ghost, asks Magda, how will you get back here?  Barnabas lights some candles.  I got here before, I'll get back again, promises Barnabas.  It's taking too big a chance, says Magda.  If Quentin dies on the 10th of September, then history won't have been changed, and his ghost will surely claim David, declares Barnabas somberly.  "I must stop his death, Magda, and will take any chance to do it!"  We must find the I-Ching wands, he says, taking the candelabra and to search Quentin's desk.

Tate broods, staring at Amanda's smiling face in his portrait.  Your visitor will be here shortly, says Petofi, I advise you to put away the portrait--were your visitor to see it, he'd find it most odd.  Tate asks who is coming.  You'll find out soon enough, says Petofi--I want you to receive him for me.  He's your guest, says Tate, lifting up Amanda's portrait, you're the reason he's coming--why don't you?  I must emulate my hero, Lord Kitchener, says Petofi--before a battle, he retired to his tent, and there, alone, perfected his strategy.  Petofi goes into another room and closes the door.  Tate looks at Amanda's portrait again, then at the vase.  He answers the knock at the door after putting away the portrait.  It's Edward, who's pleased to see him.  Petofi listens as Edward remarks he didn't expect to be in an artist's studio tonight--ah, the Bohemian life has tempted several members of my family, comments Edward, never me, of course--what did you wish to see me about?  Petofi enters the room--I sent the note, he says.  Coldly, Edward says, I have nothing to say to you, now or ever, Mr. Fenn-Gibbons.  "Count Petofi," corrects the latter.  I don't care what your name is, says Edward.  Don't leave until we discuss Barnabas Collins, advises Petofi--Charles, leave the room.  The artist goes.  "Do you think that I would believe what you have to say?" demands Edward, barely controlling his temper.  You should, says Petofi.  After putting a curse on my family, says Edward, on me, my son?  I know nothing of any curse, says Petofi, who told you I was responsible?Quentin, says Edward.   Quentin is charming boy, says Petofi, I find him most amusing, but I don't always believe him--do you?  No, admits the latter.  But you choose to believe him in this case? queries Petofi.  Perhaps I wouldn't have, says Edward, if you hadn't presented yourself under a false name--that's unforgivable!  Perhaps there were reasons I was forced to adopt that singularly graceless copy, suggests Petofi.  What reason? demands Edward.  Imagine, says Petofi, something enormously valuable stolen by the gypsies--I had reason to believe the gypsies on your property had what was stolen from me (he pours some drinks)--had you known my true name, you'd have prevented me from getting it back.  Did the gypsies have it? asks Edward.  When I found out they did not, I assumed my true title, by then, you and I had drifted apart.  Petofi hands him a drink, reminding him how delightful those first few days at Collinwood were--I felt at last I'd met someone with whom I could share all my experiences, says the Count.  Edward reluctantly admits, I felt that, too.  I am desperately anxious to redeem my good name with you, says Petofi--if I help you capture Barnabas, would that make up for the injuries you blame me for?  Why do you think I'm hunting Barnabas? asks Edward.  "Because he is your enemy," says Petofi, quaffing his drink--"The greatest danger that exists to the Collins family--shall I say more?"

Barnabas and Magda have conducted a fruitless search for the I-Ching wands.  When we do find the wands, says Barnabas, you must not tell Quentin what I'm going to do--if I don't get back, you know what to do.  She opens the closet--bring the light, she tells Barnabas.  He does.  She's found Quentin's portrait, and when Barnabas uncovers it, they see the wolf's face.  Magda gasps.  Barnabas reads, "Tate, 1897," and asks, how can this be?  He knows about Quentin, suggests Magda.  Perhaps not, says Barnabas, reading the nameplate on the frame--"Quentin Collins, 1897."  Magda asks, did he paint Quentin?Yes, and the portrait changed, surmises Barnabas.  No, says Magda.  Yes, says Barnabas, the portrait changed into the wolf, but Quentin did not.  That isn't possible, says Magda.  Anything is, when Petofi is involved, says Barn.  How do you know he is? Magda asks.  Charles Tate appeared in Collinsport shortly after Petofi arrived, says Barnabas.  That means nothing, says Magda.  There must be something to explain this, insists Barn.  Petofi and Quentin, laments Magda, oh, poor Quentin!  Perhaps this is Petofi's first attempt to win Quentin, suggests Barnabas, and Petofi hasn't yet demanded payment--we will stop that, too!  How? she asks.  The ghost will tell me if Petofi ever existed here or ever came here, or whether he came because history had not been changed, says Barnabas.  He covers the portrait.  We must find the wands! He says.  Barnabas closes the closet, then, as if acting on a hunch, opens it again.  He finds the wands on a top shelf, wrapped in cloth.  He opens it and spread out the I-Ching wands.  They must have great power, says Magda.  Barnabas agrees--they free the mind and will--they will take me to the future--we must go back to the Old House; I'm going to try to get back to the future from the place I came from.  Will I be successful this time? he wonders aloud.  Magda blows out the candles, Barnabas gathers up the wands, and they exit.

Magda and Barnabas head downstairs to the Old House basement.  I have a bad feeling it won't work, she says.  Stop it, orders Barnabas.  Listen to me, insists Magda.  You must understand everything that is happening, he says.  All right, I'll try, she says.  If I'm successful, he says, my body will remain here in a trance, his physical body; my astral body will go.  What's that? she asks.  My his will, my force, my soul, he explains, but if you don't understand, don't try--the first thing I must do is throw the wands on the table...now they must be placed in parallel.  He does these things.  There are 64 possible hexagrams, he explains--ah, the 49th again-good, the hexagram of change!  I wish you wouldn't do this, says Magda.  Ignoring her fear, he sits in the chair in front of the table on which the wands lie.  It's up to me now, he says--the hexagram will appear on a door, my body will rise and go through that door--and then...  You will be in the future? she asks.  I hope so, he replies--if I don't return before midnight on the 10th, you must go to Quentin and tell him he's going to die on that day--he must not see Jamison; he's to leave Collinwood and not come back, and he is not to tell you where he's going--he is not to come back until after the 10th of September--is that clear?  Yes, she says, but she looks sick, unhappy.  Now I must start, says Barnabas--go to Petofi, watch him carefully, and stop him if he attempts to come here--now I must begin--in an hour or two, come back.  She leaves, begging him one last time, "Barnabas!"  Go, he says again.  She walks slowly upstairs, leaving him alone.

Edward pretends to not understand what Petofi means by calling Barnabas an enemy of his family.  Yes, you do, says Petofi.  Anxiously, Edward asks, what do you know about Barnabas?  As much as I need to, says Petofi--that he is a vampire--I know you wish to keep that secret (Tate is listening to all this from the other room), and I respect that and came to you instead of the police.  How did you find out? asks Edward.  That isn't important, says Petofi.  Edward agrees--you could have gone to the police--I've been wrong about you, I think.  (he still put curses on you and Jamison!)  Magda can tell us where Barnabas is, says Petofi.  She knows? asks Edward--I know how to deal with her!  We can use her to lead us to Barnabas, says Petofi.  No, says Edward--what must be done, I must do alone, it is my responsibility, difficult as it may be--there was always someone in the family who was supposed to know of his existence, one person who was supposed to keep him chained to his coffin--had my grandmother lived, I'd have been the one she would have told; now I must go to the Old House.  Not at night, unarmed, protests Petofi, at least take this in case you meet him before dawn comes--and he presses a gun filled with six silver bullets into Edward's hands.  If you find yourself unable to shoot him, advises Petofi, remember the dawn can do the deed for you--without his coffin, he cannot live--you will report back to me, right? asks Petofi--I'll be waiting for you.  Edward leaves.  Petofi smiles.

Barnabas sits before the I-Ching wands, concentrating, eyes closed.He sees the hexagram in his mind, on the door...

NOTES:  Great to see Barnabas again, even if he is rushing headlong into a dangerous plan--and into Petofi's trap.  Love Magda's concern for him, reminds me of Julia more every day.

I hate Petofi, and right now, I'm not too fond of Edward, either.  How could he so easily accept Petofi's explanation?  Quentin was quite sincere when he told Edward Petofi was responsible for all the possessions, so his easy acceptance of Petofi convinces me of Edward's weak character.

So, Charles paints something and it comes into being, huh, whether it's a vase or a human being.  If that's the talent Petofi has bestowed on him, wow!

Wish Magda had listened to Barnabas.  She's psychic, too, but Barn is soooo stubborn!


835 - Edward enters the unlocked Old House, gun in hand.  He looks upstairs.

Barnabas sits in a trance while his astral body rises from his flesh, stands, and walks.  Edward comes down the basement stairs, points his gun at Barnabas and gazes at him, poised to kill his cousin.  Meanwhile, Barnabas' astral body approaches the door upon which the I-Ching wands appear to be glued.  The door opens.  Edward gazes at Barnabas, then shoves the wand off the table.  The door snaps shut on Barnabas' astral body.  Barnabas' head rocks violently, seeming to send him onto a convulsion.
1969 - Julia calls to Stokes, who is reading a book.  Barnabas, sitting in the Old House basement, begins to convulse, too.  "Professor Stokes!" cries Julia, alarmed.  Barnabas' body collapses, then disappears.  Both Stokes and Julia step forward and gaze at the empty chair.

What happened to him? Julia asks.  Eliot responds, whatever time or world his astral being traversed, we will never know--what we can assume, is that Barnabas is dead.  Julia's lip begins to tremble.

Barnabas awakens in the family's cell downstairs to find Edward holding a gun on him.  I have no idea what supernatural hocus pocus you were practicing, shouts Edward, but, "You will practice it no more!"  The I-Ching trance, realizes Barnabas--you interrupted it.  I did indeed, says Edward.  What I was trying to do was of utmost importance to the Collins, says Barnabas.  You have brought nothing but tragedy and suffering to this family since you first came here, accuses Edward, and don't bother trying to convince me otherwise.  If you intend to keep me here, argues Barnabas, you're risking the life of your brother and the future of the Collins family.  I don't intend to keep you here long, says Edward--I'm sending you to a grave you should have been in long ago!  By shooting me in the heart with a silver bullet? asks Barn.  Yes, replies Edward.  I know you better than that, says Barnabas--if you intend to keep me here, whatever you're planning to do--I am still a Collins.  Edward retorts, you forfeited his right to be a Collins or human being when you made a pact with the devil.  I couldn't prevent what he became, Barnabas passionately assures him, and as long as I live and breathe, I carry the Collins name!--and I know you would never murder one of your own family.  "It is my duty to kill you, and I will do it!" insists Edward.  Then do it, says Barn--raise the pistol, pull the trigger--now!  Edward gets a sickened look on his face as he raises the pistol.  "Go on, Edward, you're so devoted to doing your duty--get it over with," urges Barnabas.  Edward's eyes widen.He slowly drops the pistol to his side.  I can't even bring myself to kill someone like you in cold blood, says Edward--but then, it isn't necessary; I'll let nature take its course--you can't survive without your coffin during the day, so I'll just leave you in the cell and allow dawn to finish you--does the thought of death frighten you, Barnabas?  Does the thought of death not frighten you, Edward? counters Barnabas.  When my time comes, says Edward, I'll have no qualms when I meet my maker.  He holds the gun on Barn as he leaves the cell and locks him in--I'll return an hour before dawn, he says, I want to be here when the end comes--one other things--I've seen to it that all the secret passages are blocked, so you won't be able to get out of this cell.  You've thought of everything, says Barn.  Yes, everything! Edward replies.  Barnabas sits down, looking morose, then stands and paces his prison.  He spots a desk he recognizes--it will be in the Old House in 1969--I had Willie bring it there in 1967.  Barnabas sits down, finds paper and a pencil, and begins to write.  The candle beside him glows.  His letter is to Julia, "My dear Julia--I am writing this letter on the 5th day of September in the year 1897.  I am locked in a cell in the basement of the Old House.  In another 8 hours, I will die.  It is my fervent hope that this letter will somehow survive time and be brought to your attention in 1969 in order that you may know why my mission to the past was a failure.  I learned only during the past 24 hours that on September 10th next, Quentin Collins will die."  Barnabas stops writing and looks outside his cell.  "As prophesied, 3 events were to happen before his death.  Two of them have, only the third remains--his rejection by Jamison.  My plan was to return to the present, contact Quentin's spirit and find out who killed him. With this knowledge, I could have prevented his death, thereby saving David Collins.  But all of this has been prevented by one Edward Collins, who learned my secret some months ago and became my implacable enemy.  He has trapped me here, there is no escape for me.  I am, and surely to the end, your good and devoted friend, Barnabas Collins."  He folds up the letter, puts it in an envelope, seals it and hides it in a secret drawer in the desk.

1969 - Amy scolds her doll for growing too big for all her clothes (she appears to have both of Jenny's dolls to play with).  Amy takes a pin from a box in the desk, then offers to read her dolls a story.  She reaches for one book, but it has no pictures, so she goes for another, naturally "accidentally" opening the secret drawer and finding Barnabas' letter.  She looks puzzled--it's addressed to Julia Hoffman (and the letter looked old and yellowed).

Old House basement, 1969 - I know how difficult this must be for you, says Stokes, but your sitting here is pointless.  I can't help hoping, she says.  There is no more hope, he says sadly, he's gone--we must accept that fact and tell the family.  What will become of David? she asks.  I don't have the answer, admits Stokes.  The I-Ching wands are still arranged neatly on the table.  Julia thinks they should leave the wands as they are--I'm hoping for a miracle.  Go upstairs and get some sleep, urges Stokes; I'll stay downstairs--we need not tell the family until morning.  She smiles slightly and nods, bids him good night, and goes upstairs.  Stokes checks his watch.

The letter to Julia sits on the desk.  Amy, kneeling to play with her dolls, goes over and picks it up.  She starts to open it, then hides it behind he back when Julia bids her good evening.  When Julia asks what she's hiding, Amy claims it's just an envelope.  Julia asks to see it.  It's nothing, insists Amy.  You look guilty, says Julia--let me see it.  I'll show it to you if you promise not to be angry with me, says Amy.  Why should I be? asks Julia--let me see the letter.  She takes it, opens it, reads, gasps--where did you find it? she asks the child. In the secret drawer, admits Amy, I opened it accidentally--I was looking for a book and the letter was in there.  Julia hurries away without another word.  Amy, her face sad, returns to playing with her dolls.

Stokes reads the letter aloud.  He finds it astonishing.  The date is September 5th, points out Julia.  And today is the 5th in 1969, says Stokes--he's in a past that somehow runs parallel to their present.  Barnabas is still alive, says Julia.  According to his letter, not much longer, says Stokes--somehow, he will die in less than 8 hours.  We must do something, says Julia.  First, says Stokes, I must find out if my understanding of this letter is correct--I assume you know something about Barnabas I don't know--one passage in the letter is a complete mystery to me-- the part about all this being prevented by one Edward Collins, "who learned my secret some months ago."  Julia looks both secretive and scared.  What does that mean, Julia?--what is Barnabas Collins' secret? asks Stokes.  (this would have been the perfect time to tell him!)

Julia is evasive.  Surely you know what Barnabas meant, insists Stokes.  Julia denies it.  I took it for granted that you would know, he says.  Perhaps Edward found out Barnabas came from another time, suggests Julia.  And for that decided to kill him? asks Stokes--that doesn't seem very likely, unless Edward is a deranged man.  Julia looks over the letter.  Which is certainly possible, she says--we should proceed on what we know--if Barnabas dies in that cell, all will be lost for David and Chris.  True, says Eliot, but I have no idea what to do.  I will try to reach Quentin, says Julia, then try to go back to the past and save Barnabas.  How will you reach Quentin? asks Stokes--it's been attempted before with no success.  The children succeeded, she says.  And one of them is hovering near death, Stokes reminds her.The other isn't, points out Julia.  Are you willing to jeopardize Amy's life? Asks Stokes.  I don't think she's ever been in any jeopardy; says Julia--David was the one Quentin was after.  A dangerous line of reasoning, says Stokes.  If Quentin wanted to possess both children, he'd have done it long before this, insists Julia.  If you take this desperate gamble and win, what then? Asks Stokes.  I will come back here with this knowledge for Barnabas, she says.  How will you go back in time? asks Stokes.  Same way Barnabas did--the 49th hexagram--I will do as Barnabas did, she answers.  You have no guarantee of success, argues Stokes.  I must try! She says.  And you may be placing yourself in grave danger, Stokes reminds her.  I've got to take the risk, to save Barnabas somehow! she insists.  OK, says Stokes, but I want to give further study to the I-Ching, so I can be of more help to you.  (Don't you just love this guy, he's so considerate and helpful!)

Amy assures Julia she's willing to do anything she can to help, but isn't sure about going to Collinwood.  It's the only thing we can do to keep David alive, says Julia--it's very possible he might die tonight if you can't get Quentin to speak to you (but hey, no pressure).  I'm not sure I can do that, says Amy--the last time I did speak to him, he was very angry with me--I don't know if he'll speak to me anymore.  Try one more time, for David's sake, begs Julia.  Amy considers it and says, I'll try.  We're going right away--hurry, says Julia--it's storming outside.  Stokes comes downstairs.  Julia, putting on her coat, assures him, I feel we WILL return safely.  Stokes, holding the I-Ching book, sits down to read, putting in his monocle.

Collinwood - the lights are on, but nobody's home.  Julia and Amy enter the house, walk through the foyer.  Julia asks Amy, what part of the house might he be in?  That doesn't matter, says Amy, he always knows when someone is here.  Then call to him, says Julia.  Amy calls Quentin, but there's no sound but the thunder.  Please answer me, begs Amy, it's terribly important I talk to you--there's no use, says Amy, he won't answer--I want to go back to the Old House.  Quentin's music begins to play."He's coming!" screams Amy, terrified, and runs from the house, leaving Julia alone in the foyer to face Quentin.

NOTE:  Does Julia love Barnabas or what?  How cleverly Barnabas reached Julia via letter over time, but how could he be so sure someone would find it in the secret drawer?  Stokes knows something weird is going on, but he didn't press Julia to tell him, and accepted what he surely must know is a lie.  He's such a terrific man, always willing to assist Barnabas, and Julia, who I always assumed Stokes loves, no matter how weird the situation is.

Will Quentin answer Julia's questions, given his past history, or will he just kill her on the spot?

What is going to happen to Barnabas?  How interesting that Edward was unable to shoot him, after Barnabas' impassioned speech, but still is willing to leave him to face the dawn--and to come and watch!  They were good friends, what a shame it's come to this.  Edward assumes Barn made a pact with the devil, which really isn't true--unless you consider Angelique the devil, which some just might.

Love, Robin

830 - Charity wanders the woods, bewailing what she and Quentin are going to do with so little time--we must do something.  A hand drops on her shoulder; it's Magda, who gently asks, what are you doing here alone?  Help me, she begs Magda, it's Quentin!  What about him? asks Magda anxiously.  It's only 12 days until the day of his death--the 12th day of September, sobs Charity.
Charity cries into her hands.  How dod you find out about Quentin? Magda asks.  She saw it in a vision, says Charity--I wish it would be me instead of Quentin--I wish I didn't have this awful power; it's made me so miserable!--I always have bad visions of death and destruction.  What else did you see? asks Magda.  Nothing, only Quentin lying on the floor in the tower room, all bloody---oh, it was awful! cries Charity.  Magda leads her back to Collinwood, Charity crying all the way.

3:40 - Quentin drinks in Collinwood's drawing room.  Trask returns home.  Quentin asks how things are with Judith.  She's improved considerably, says Trask.  Put some arsenic in her tea next time you go to visit her, suggests Quentin.  (Nah, he poisoned the other wife, might look too suspicious.)  Trask accuses him of drinking.  Just one, says Q, want some?  No, I don't approve of intoxicating beverages, says Trask; I would prefer they are forbidden in this house.  (as IF!)  I thought you'd want to help me celebrate the return of Edward and Jamison, says Q.  Trask isn't happy to hear this.  They have both recovered? he asks.  Completely, says Quentin.  I'm glad to hear it, says Trask.  "So glad you could cry," says Quentin, laughter in his eyes.  I prayed for their recovery everyday, insists Trask.  You prayed for them to drop dead, and they disappointed you, says Quentin--you aren't going to be master of Collinwood, Trask, and I think that calls for a second drink.  Trask asks where Edward is.  He went out late this afternoon, answers Q.  And Jamison? queries Trask.  Stay away from him, warns Quentin.  I merely wants to talk to the boy, says Trask.  "But he doesn't want to talk to you," says Quentin menacingly.  Charity and Magda enters.  What happened to my daughter? asks Trask.  Charity races into Quentin's arms--Quentin, darling!  Quentin unwraps her from around his person.  I must speak to you, Magda tells Trask.  Control yourself! Trask orders his daughter.  Take your filthy hands off me! she orders--and stop calling me by that stupid name.  She runs into the servants' quarters.  Quentin advises Trask, take Charity with you next time you go to the sanitarium--and leave her there.  He runs upstairs.  Magda tells Trask, Charity was wandering alone in the woods.  Twisting his hands together, Trask wonders why Charity hasn't recovered as Edward and Jamison did.  Perhaps Quentin is right, says Magda--you should take her to the sanitarium.  My daughter isn't mad, insists Trask angrily, just possessed by an evil spirit!  What will you do about it? queries Magida.  I'll be guided by what the Almighty decides, answers Trask--when it's time for her to recover, the demon will leave her, and she'll be herself again. And what if she kills somebody in the meantime? asks Magda--she tried before.  There's no proof she tried to kill Beth, says Trask-- Charity is incapable of killing anyone.  No, Charity isn't, says Magda, but this one is, she's crazy, do you know what she told me when we were returning to the house?--that Quentin is in love with her!--ain't that crazy?  No, says Charity, re-entering the room, Quentin DOES love me, and neither of you is going to keep me away from him--or that harpy he thinks he's gonna marry--I lost one love in this house when Carl died, I ain't going to lose another one.  She gets in Trask's face, warning, I'll kill the next person who tries to get between me and Quentin--"You just think about that, guv'nor," she warns her father.  Magda confidentially tells Trask, I don't know about you, but I believe her.  I do, too, admits Trask--what will I do?--I don't know--perhaps I should place her temporarily in the sanitarium.  "Ohhh, and who's gonna take me there?" demands Charity from the top of the stairs--"you, maybe?--over my dead body, Luv!  OVER MY DEAD BODY!"  Trask eyes her warily.  Magda looks helpless--and hopeless.

7:55 - We hear Charity's music, sweetly playing from the gramophone.  She lies in bed, listening to it.  Do you like it? she asks Magda.  I only likes gypsy music, answers magda.  You've got to listen whether you like it or not, says Charity.  All right, concedes Magda.  Charity asks, how much longer is he going to have you keep watch over me? Magda denies she's doing this--he wants to be sure you stay calm, answers the gypsy.  I will, says Charity, as long as no one interferes with me.

Trask sits down in the drawing room, from which he can clearly hear Pansy's music upstairs.  Quentin comes in--where is Magda?  Upstairs with Charity, says Trask--I asked Magda to stay with her.  You could have told me that before I left the house, complains Q.  I didn't know you were looking for her, says Trask--I want to talk to you.  I don't have time, insists Q.  Make time! orders Trask--I want to settle the matter between you and my daughter--this disgusting infatuation she has for you.  Talk to her about that, suggests Q.  I want to know your intentions regarding my daughter, says Trask.  "My intentions?  I don't have any!" says Q.  You have led her to believe you have, says Trask.  "That's a lie!" says Q.I'm not a fool, says Trask, I saw the way she threw herself at you, and a young lady doesn't behave that way unless she's been encouraged, somehow, by the man.  Listen to me, says Q, Charity isn't MY problem, she's YOURS!--I'm not responsible for what happened to Charity and don't want to be blamed for it!  Now if you'll excuse me.  Magda stands at the top of the steps and tells "Mr. Trask"--Charity wants to see you, asked to speak to you right away.  Trask heads upstairs immediately.  Magda asks Q, what's wrong with you?  Come into the drawing room, he urges, closing the doors when she joins him.  We have to think of something to do--there's going to be another full moon tonight, and I can't live through it again, I just can't, insists Q.  We have tried everything, nothing worked, she reminds him--there's only one person who might be able to help you--Petofi.  I hate talking to that man, protests Quentin.  You "ain't" in no position to make choices, says Magda.  I had a dream last night, he says--saw Tessie Kincaid, what she looked like after she'd been attacked.  Stop torturing yourself, she begs, go to Petofi now.  It's no use, insists Quentin--I already know his answer.  You are the one person in the family he doesn't hate, points out Magda, and you know why!  Yes, I do, says Q, because I was a victim of the curse myself, and we have something in common.  He has sympathy for you, says Magda, and you're the only one in the family he didn't hurt.  He hasn't hurt me, but hasn't helped me, either, says Q, and has no intentions of doing so.  How can you say that? asks Magda.  There may be only one way to prevent tonight from happening, he says--you'll see.  He pulls open the doors.  Trask is there.  Quentin demands, how long have you been listening?  I wasn't, says Trask--I was about to enter the room.  Quentin chuckles and heads upstairs.  What's wrong with him? asks Trask--you usually makes it your business to know everyone's secrets.  I know nothing, she says, and you say you can't afford to concern yourself with Quentin, anyway.  Go stay with Charity, says Trask.  I have better things to do, protests the gypsy.  I'll make it well worth your while to keep Charity in the room, by force, if necessary, he says.  I promise you nothing, says Magda, but I will try.  She heads upstairs.  He sits down at the desk, puzzled.  Lightning flashes.  The windows blow open.  Trask looks around nervously.  The double doors close before he can leave the room.  "I have come back to warn you," says a female voice.  "Minerva, I beg you to leave me alone!" he cries.  (Sounds much younger than Minerva.)  He stands there, head darting, eyes staring, terrified.

Thunder and lightning blast and blare, winds closing and opening the windows.  Trask, frightened, assures Minerva, "I will do anything you ask!"  Leave this house, the ghostly woman's voice warns him, he's in this house, he will kill again!  I don't understand, says Trask.  The beast that walks like a man, she clarifies.  "You're not Minerva?" he asks.  BEWARE OF THE FULL MOON AND THE BEAST, says the voice.  YOU MUST STOP HIM!  Trask looks around, asking who?  He is in this house, now, says the woman.  Show yourself to me, who are you? he asks--who are you talking about, where in this house is he?  The double doors open by themselves.  "In this house--the beast who walks like a man!" says Trask.  "Somewhere in this house!"

Quentin goes into his room, breathing heavily.  The storm rages.  The spectral form of a woman appears by the window.  Who are you? he asks--speak to me.  I will be with you tonight, she tells him, lightning illuminating her body.Please, have mercy on me, have mercy! cries Q, covering his face with his hands, crying.  Abruptly, all sounds stop.  He looks, the figure is gone.  I won't let that happen again, he promises himself.  He takes paper and ink and starts to write.  Magda enters.  I heard you yelling, she says.  It's all over, says Q, the curse is about to end.  What are you doing? she asks--it isn't possible.  I'm making it possible, he says, writing a farewell note to Beth, something I should have done a long time ago, the only way to end this misery.  Magda watches him write--what are you talking about? she asks.  There's not going to be a change tonight, he says, because there won't be a Quentin.  I won't let you do it, she insists, grabbing the piece of paper, crumpling it up.  You can't stop me, he says--and give me that note!  No, says Magda, listen, if we can get you through tonight, we have a whole month to try to find a way to help you!  Magda, he says, I can't get through this night without committing another bloody murder, and I won't let it happen again.  And I won't let you take your life! insists Magda  Don't you understand? He asks--there's no other answer, I'll be gone and no one will ever know.  "You don't want to die, do you?" she asks.  No, I don't he admits.  Then we've got to find a way to get you through tonight, she says urgently--we've got to try!

Trask sits in the drawing room.  It's 6 PM.  He rises, looks at the clock, and heads upstairs.

Magda is chaining Quentin to a sturdy wooden post in his room, locking everything up.  I will stay with you, watch over you, she promises--and I have my pentagram.  All right, says Q, I said he'd go through with this, on one condition--go to my desk, in the top right hand drawer.  She hesitates.  Do it! he orders.  In the drawer, she finds a gun.  Don't just stare at it, pick it up, he says.  What do you want me to do with this? she asks.  It contains six silver bullets, says Q.  I can't escape this room, but if I get away, you are to shoot me through the heart--promise me, he says.  She shakes her head, but finally agrees to his terms.  Trask bursts in--I must speak to Quentin!  He beholds his brother in law all chained up.  "GET OUT OF HERE, TRASK!" screams Quentin.  Trask stares at him, stupefied, and refuses--I'm going to stay!  Get him out of here! Quentin commands Magda.  Trask wrests the gun away from Magda and examines the bullets.I won't ask him why the gun is filled with silver bullets, says Trask, or why you manacled yourself--I think I'll just stay--and see the answers for myself--when the moon rises!

NOTES:  This is seriously bad for Quentin, of course, to have his enemy pointing a silver-bullet loaded gun at him while he's vulnerable, mere moments from turning into the wolf.  What will happen?  Will Quentin break free after the transformation and kill Trask, or will Trask shoot him full of silver bullets and destroy Quentin?  How is it all going to end?  A very exciting cliffhanger here, of course, one I remember well from 1969.  I know what is going to happen, but I'm not telling.

Cool that Angelique cured Jamison and Edward, guess her powers are greater than Petofi's.  Love it!  Now Quentin is betrothed, but notice he hasn't told a soul, and Magda didn't flinch when Charity mentioned "that harpy," which could only have meant Angelique (or perhaps Beth)?

One wonders--if Edward hadn't changed back to his old self, would Charity have given him some fun favors?  Did Trask think, just for a moment, that Magda and Quentin were playing some "M&M" games in his room?

Interesting how Trask kept thinking it was Minerva haunting him, when it was either Tessie or Dorcas or one of Quentin's other victims.  Wonder why she, whoever she was, came to Trask?  I guess that's why I figured it had to be Dorcas, with her crush on the Rev and all.

Pretty good eps, love Nancy Barrett, but miss Barnabas!


831 - (Did Magda chain Quentin with the same chains used to keep Barnabas imprisoned in his coffin?  How ironic, if so.)

Fashion blast from the past - Magda is wearing the same color of lip gloss I used to, I noticed--nice stuff.

Trask has a cruel gleam in his eye as he threatens to see the answers for himself when the moon rises.  Quentin looks lost, helpless and trapped.

Magda and Quentin exchange frightened looks as Trask boasts, the two most loquacious people I know are utterly speechless.  Magda says, we both must leave.  Only you will go, insists Trask-- and get used to doing what I tell you--your involvement with this man-beast, has placed you completely at my mercy--I will deal with you after I deal with Quentin.  What are you going to do to us? she demands.   I am going to dispose of Quentin altogether, he says, but I haven't decided your fate yet--go to Charity's room.  Quentin agrees that Magda should do as told.  Before she leaves, Trask pries the keys to the shackles from her hand, hurting her in the process.  "Go!" he barks.  He smiles at Q--imagine what this will look like in the newspapers, one of the staid and proper Collins (Quentin staid and proper?)  a creature of the supernatural, a maniacal murderer--I can hardly wait to see the look on Edward's face!  If you don't get out of here, warns Quentin, you won't EVER get to break your story to the newspapers; if you stay here after the transformation takes place, I'll kill you.  Thanks for the warning, says Trask, and releases him from the shackles--there's an hour before the moon rises, so I'm taking you to the police; since they will know the whole story anyway, might as well let them watch it happen.  He holds the gun on the freed Quentin, who smiles and says, I know you're enjoying this, but you know, you've forgotten one important detail--if you take me to the police, there will be a double scandal, and you will be in it up to your neck--ah, says Q, seeing Trask's dismayed face, I see I don't need to dust off your memory--I do indeed still have the incriminating confession in my possession.  It's a fake, insists Trask.  We know it's a fake, says Q, but the police...you don't know about them, they tend to believe everything in writing.  Trask asks, where is the confession?--I want it.  Quentin giggles--you want it, go look for it.  Trask holds the gun to his head--tell me where the confession is, he orders, or I'll kill you.  Oh, no you won't, says Q, if I die, the curse ends, and the transformation won't take place.  I don't believe that, says Trask.  Shoot me and find out, advises Q.  Turn around, orders Trask.  What for? Q asks.  "Just turn around!" repeats Trask.  Quentin turns away from Trask, who slams him over the head with the gun.  With Quentin unconscious, Trask begins frantically searching Quentin's desk, pushing papers and books onto the floor.  He kneels beside Quentin and looks through his pockets, finding the confession in his breast pocket.

Magda paces downstairs in the drawing room.  Angelique enters.  Trask knows about Quentin, reveals the gypsy--you must do something before he takes him to the police--he's with Quentin and has a gun with the silver bullets.Keep calm, says Angelique, not terribly calm herself.  It's going to be dark soon, bleats Magda.  Angelique assures her, I will take care of Trask, don't worry--come with me, she tells Magda.  They head upstairs together.

Trask leads Quentin, who is holding his aching head, to the same cell in which Jamison was imprisoned, and locks him in.  The stalemate has ended, says Trask, I have the paper now.  Why did you bring me down here rather than taking me to the police? asks Q.  I may not have time now before the moon rises to get you into Collinsport, says Trask, so I will witness the transformation myself, then bring the police to see you in your "other" form.  "You're as good as dead right now, Quentin," gloats Trask.

Angelique finds Quentin's room empty.  Magda joins her.  Perhaps Trask took him to the police, says Magda.  Go to Trask's room and get me something of his, commands Angelique, a close personal possession--and hurry!  Angelique kneels by the fire and takes a necklace from around her neck and into her hands.  Jewel of antiquity, dispatch your powers on reflection, she says, through these flames, bring me an image of those I seek--show me where they are this moment.  The blue jewel in the center turns into a mini TV--we see Quentin in the cell.  She holds the necklace lovingly.  Magda returns with Trask's reading glasses, which Ang says will do well.  Trask has him in the basement cell, says Angelique--Magda, leave the room.  The gypsy goes, not at all pleased.  Angelique takes the glasses in one hand and the necklace in the other.  She holds the glasses over the necklace, swaying them back and forth, then in a circle.  Mr. Trask, you will hear my voice, but only in your mind, she says--I will enter your mind and your willpower will crumble before my commands--and your mind and your thoughts will be under my control.  You will do what I tell you to do.

Quentin sits in the cell, head in hands.  You have another half an hour, says Trask, only 30 more minutes.  (Trask is so pleased, one wishes to slap him.)  Trask begins to touch his head, hearing Angelique's voice inside it.  "Now, Mr. Trask," she says, I am taking control, now!  Your mind belongs to ME, you must accept that, there are no other choices open to you.  You will lift up the pistol, Mr. Trask.  He does.  And you will take the pistol to the drawing room.  Quentin asks Trask what he's doing, but the latter has fallen into a complete trance.  Angelique continues--when you get to the drawing room, you will know what to do.  Quentin demands, Trask, tell me where you're going.  The Reverend simply leaves.

7:30 PM - Trask comes in from the servants' entrance, gun in hand.  He opens the double doors and enters, then sits before the desk and puts the gun down.  He takes the inkwell and pen, and writes, "Tonight, there will be another full moon.  I can no longer bear the thought of changing into the animal and spilling more blood.  I must take my own life, it is the only escape for me."  The front door opens.  Trask takes the gun and puts it into the desk.  He rises.  Petofi enters carrying something large and bewrapped.  He cordially greets Trask, who is standing there like an automaton.  I'm looking for Quentin, says Petofi.  I haven't seen him, says Trask.  Curious, says Petofi, I was sure you'd know where he was.  No, says Trask, slowly and carefully.  Charles Tate finished Quentin's portrait, says Petofi--I consider it an extraordinary likeness.  Petofi notices Trask is ignoring him, and says, "Someone has decided to prevent you from pursuing your duties--I won't have that, Mr. Trask, you must come within reach of your triumph, but only within reach."  (Ah, so he set all this up!  Probably gave Charity the visions.)  The ultimate triumph for tonight will be Petofi's, but I shall have it!  Petofi puts the portrait in the foyer, leaning it against the table.  Magda comes in, sees him, and tries to flee.  Petofi stops her, demanding to know where Angelique is.  I ain't seen her, says Magda.  Stop lying, orders Petofi, you know where she is and what's she's doing.  Magda denies this.  Petofi grabs her around the throat, threatening to tear her gypsy heart out before he asks again.  She chokes out, she's upstairs in Quentin's room.  He throws her to the ground and takes the portrait upstairs.

In the drawing room, Angelique speaks to Trask: "The pistol.  Take the pistol in your hand."  He does so.  "And raise it to your temple."  Trask does so...
Angelique tells Trask, at the count of three, you'll pull the trigger.  She begins to count, but before she can reach three, Petofi bursts in.  "You live dangerously for one so lovely, my dear," he says--"I tolerated your interference once before, I cannot tolerate it again."  He puts down the portrait.  Tonight is far too important to me.  And to me, retorts Angelique--do you know what will happen to Quentin if Trask isn't stopped?  I do, says Petofi.  And you want it to happen? she asks.  Yes, says Petofi.  Well I do not, she asserts--I will not allow Quentin to be sacrificed.  "You will do just what I tell you to do," says Petofi, taking the necklace from her hand.  She cries out when he does this.He crushes her necklace in his magic hand (actually, we hear the sound, but not much happens to the necklace.)  "So much for your petty black magic," says Petofi, "now Mr. Trask can resume his duties.  She moves to smack him across the face, but he easily stops her and says, I admire your spirit and temper, I like you, and find you most appealing.  He takes both her hands in both of his and says, while Trask recovers his wits, I want to show you something--and he slips the cover off Quentin's portrait.

Trask sits there, dazed, and reads the note he had previously written.  He crumbles it up and tosses it into the fireplace.  He checks his watch, takes the gun, and heads out of the room.

Petofi shows Angelique Quentin's portrait--don't you find it magnificent? He asks--don't be too angry with me, I do assure you everything will turn out for the best--what is meant to be, must be--come with me, I don't want you out of my sight  until the moon has risen.  "It will be my night," cackles Petofi.  "My night!"  She leaves, Petofi following.

Magda comes hurriedly downstairs, explaining, Angelique is trying to help you, but Petofi learned about it and stopped her--we must get him out.  She takes the key from the wall and starts to open the door. "Gypsy!" cries Trask, holding the gun on her--get away from the door, unless you want to be locked in with your friend and get a really good view of what's going to happen.  No, says Magda.  Get out and stay out, orders Trask.  Moaning, she leaves.  It almost worked, Quentin, says Trask, but whatever was happening could not stand up to one who has the Almighty on his side!  Trask grins.  "There is no help for you now, Quentin, and there never will be.  In exactly one minute, the moon will begin to rise, and I will be witness to the fact that the transformation took place in my presence--then the whole world will know what your secret is!"Quentin's eyes show abject terror.

NOTES:  Quentin's in big trouble now!  Will he transform in front of Trask, revealing that he is the werewolf responsible for all the killings?  Will Trask shoot him with the silver bullets?  Will Petofi be able to save Quentin from what seems to be an inevitable fate?  What does the portrait Tate painted of Quentin have to do with anything?  Portraits on this show often possess powers of their own--is that the case here?  Poor Quentin--what will his fate be?  He's turning into a decent guy, does this mean he's going to end up with cruel fate abusing him?

Love, Robin

826 - It's Johnny Romano who asks Magda, did you really think you could get away from me?

King Johnny and Istvan lead Magda to the cemetery, where the trouble started--where you found Barnabas Collins.  Istvan unties her.  How do you know about him? asks Magda.  All there is to know, he says--a lion, a ring, a door, where that door leads.  Who told you? she asks--Sandor?--I suppose you tortured him a lot to make him reveal that.  Your Sandor was a nice fellow, says Johnny, walking toward the Collins tomb--I hated to see him die.  You killed him, accuses Magda.  You did it yourself, insists Johnny, you made me do it when you stole the hand.  He opens the wrought iron door; they enter the tomb.  This is where it all started, says Johnny, opening a door you should have left closed--this is where it will end--you will go on trial, right now.  Here? asks Magda--what about Boston?  Forget Boston, says Johnny.  Where is the jury? She asks--no one else is here!  I will be judge and prosecutor, says Johnny.  That ain't fair, insists Magda.  Open the door to the secret room, commands Johnny, and see what you find--this time!  She does as ordered, pulling the ring in the lion's mouth.  Inside is a table, candles.  The jury will be here in time, says Johnny--do you remember Andras, the gypsy who strangled my wife years ago?--and Milo, who killed my brother?--they're on your jury.  But they're dead! says Magda.  Yes, says Johnny, the whole jury, murderers all--they're what you deserve and what you're gonna get--"Black as the night, as death, as wings of the raven!" calls Johnny, arms upraised.  "Cat that howls in the night, black as the depths of hell where your souls are condemned--let these candles light your way back to earth.  Andras!  Marcos!"  A ghost appears and walks past Johnny, then another.  Magda watches in horror.  "Stefan, Gregor!" yells Johnny.  Two more gypsies come in, one wearing an eye-patch.  "Sergio!"  Another gypsy appears and walks down the steps.  All are very motley-looking fellows.  All condemned to death by their people, says Johnny, murderers all!--Istvan, take your place, the trial will begin.  Johnny introduces Magda as "one of your own--a thief--she stole the hand of Count Petofi, the most precious possession, to use on a gadjo, an outsider.  Magda speaks up--I also took it for Jenny's baby!  Silence, orders Johnny, I'm talking now!--she stole the hand, charge one; charge 2, she murdered Julianka, no ordinary gypsy.I didn't! Magda protests.  Julianka had the power, the touch, the sight to see into people, says Johnny--Magda didn't respect these gifts, and murdered her.  I didn't! repeats Magda.  "She left her tribal life and now she's dead, ain't she?" asks Johnny--you DID kill her, and the jury will decide which of us is telling the truth--killing Julianka was bad enough, but when you killed the infant. . .you'd think anyone would have mercy on a helpless infant.  But Julianka put the curse on me, protests Magda--that anyone I loved would die; I tried every way to keep those babies alive!  Liar, says Johnny, and adds another charge--when I came looking for the hand, you tried to trick me with a false hand, tried to pull the bajor on ME!  I didn't, insists Magda.  The case is closed, pronounces Johnny--how are you going to vote?  "Wait a minute," protests Magda, you can't close the case yet!--there's got to be somebody to tell my side of it!"  I want a witness, Barnabas, who sent me to Boston.  You can only have gypsies at a gypsy trial, Johnny coldly informs her.  There are none to testify for me, says Magda--Sandor, Jenny, are dead.  And if they weren't, which would you call? asks Johnny.  "My beloved Sandor!" cries Magda--I trust my life to him.  Maybe you will have your chance, says Johnny--Istvan, bring me the lamp and put out all the lights.  Johnny holds up the lantern and passes it over the heads of the dead jury, calling to Sandor to make himself visible.  Magda sees Sandor standing in the doorway, looking very drugged!

Magda calls to Sandor and tries to run to him, but Istvan pulls her back.  Johnny orders the latter to light the candles.   Magda anxiously asks Sandor if it's all right for him.  "Raise your hand," Johnny orders--"Swear on the graves of the slaughtered nine, on the honor of the Romany children, swear to tell me the truth."  I swear, says Sandor.  Question him, orders Johnny, lighting one black candle with another--you have the time until the candle burns down to do it.  Who killed you? asks Magda.  The jury already knows YOU murdered him, says Johnny.  Let him answers, says Magda, he'll tell you I didn't do it.  Don't put words in the witness' mouth, orders Johnny--ask him a different question!  Who killed Julianka? asks Magda.  How could he know, he was in Boston when she died, barks Johnny--ask him something he knows.  What can I ask him? Magda says softly.  "Who wanted Julianka here, when she died," suggests Johnny--who was that, Sandor?  "Magda Rakosi," replies Sandor.  Tell us why I wanted Julianka here, says Magda--to cure Jenny's children.  Cure them of what? asks Johnny.  The curse, replies Magda.And who put the curse on those beautiful gypsy babies, Sandor? asks Johnny.  Magda, he answers again.  Louder! demands Johnny.  Magda begins to cry--you aren't letting me ask the witness "nothin.'."  Your time is over anyway, says Johnny.  She protests, you said I had until the candle burns.  He bands over the blows it out.  She gasps.  The case is closed, pronounces Johnny, adding, "Sandor, your time is over now, too. Go back to your grave."  Not yet, protests Magda.  Sandor disappears.  Time to decide whether she lives or dies, says Johnny, asking the jury, do any of you have anything to say in her defense?  There is silence.  The gypsies all look like true scum.  Istvan raises his hand and gives Magda a thumbs down.  "How do you like that--Istvan has spoken," says Johnny--he says you die!  No! cries Magda.  Are you surprised? demands Johnny.  I have the feeling there aren't too many surprises in King Johnny's court, says Magda--how am I going to die?  We will play a game, he says, called hunt the weasel--and you are the weasel.  Where will they hunt for me? she asks.  Wherever you go, says Johnny--wherever you CAN go--let her go, Istvan.  The latter exits the secret room, Magda following.  She asks Johnny, "You mean, you're going to let me go free?"  No trick, says Johnny, just a game.  What if I hide and you can't find me? she asks.  Then you win the game--you are free, says Johnny--and if I find you--you're dead!  How much time before they come after me? asks Magda.  You'll find that out later, he promises--now run, Magda, run--the game is about to begin.  Thunder rolls.  Magda leaves the mausoleum and races off, King Johnny watching, laughing uproariously.

Magda runs to the woods, looking around for her pursuants.  Back in the tomb, Johnny and the jury look at a candle.  "Now it's time for us to play the game," he says, blowing out the candle.  The murderous gypsies follow him.  The storm rages around Magda.  To her horror, one of the ghosts appears before her.  She lights a match and orders Sergio back to hell where he belongs--you don't belong here, your crime is best kept in the dark; when this light goes out, go back to the darkness.  Sergio is enveloped in bright light, and, screaming, disappears (even though Magda's match went out way too soon).  She's thrilled and relieved--I got rid of him!  She stands there, breathing heavily, but hears Johnny's laughter--"but you ain't got rid of me," he tells her.  She calls to him, asking, where are you? but he reminds her the game is to find YOU, not me--I like the way you got rid of Sergio--if you gets rid of the others, perhaps you'll win--get moving, Magda, he orders, got to keep the game going until it's over.  She picks up her skirts and runs off.  In the cemetery, she wanders amongst the tombstones, breathing hard.  She realizes to her dismay that she's been running in a circle and is now backed like a rat in a trap--she must hide somewhere.  She turns and sees another ghost, and another.  "If I only knew how you died," she wails, "maybe I would know how to banish you, but I don't know nothing...nothing, and there ain't nothing but death for me!"The ghosts close in on the sobbing woman as she hangs her head and cries.  Then she stops, holding out her hand.  "In the name of gypsy women who wept for you," she intones, "I know your crime, I order you to go back to sleep without ending, back to death before the tears are dry on my cheek, go walk the earth no more!"  She cries, patting the tears on her face, and all the ghosts disappear.  She hears Johnny's laughter and is hysterical, begging him, stop the game, it isn't a game--stop it!  Keep going, running, he orders, the game isn't over--I'll tell you when it is!  She runs off.  Johnny appears where she was just standing, laughing and laughing.

Magda, breathless, stands on Widows' Hill.  Sandor appears, calling her name.  She reaches out to him.  Sandor, help me, she begs. I've come to help you, to take you back with me, he says.  No, I can't go back with you, she protests--"You're dead!"  You've got to, he insists, there's no other place I can hide you where you won't be found.  "No," she sobs, "I don't want to die!"  I miss you, he says--we should be together.He reaches out to her.  You belong to the dead, sobs Magda, bending down to take a handful of earth in her hand.  Holding it, she says, "Oh, death, who makes the earth grow, bear witness that this spirit may no longer walk the earth, guide his spirit back to the dead."  Sandor disappears.  Magda finds herself alone with Johnny and Istvan.  Congratulations on getting rid of Sandor--of all of them--praises Johnny, but you haven't gotten rid of me, and there is nothing you can do about either me or Istvan.  She moves closer to the edge of the cliff.  Johnny takes out a knife and asks, are you sure you want to go that way?--it's a long way down--all right, the game is over, and you lost.  He approaches her, grinning, threatening her with the knife, moving closer and closer...

NOTES:  Poor Magda!  That kangaroo count reminded me a great deal of Barnabas' going on trial by a jury of those he killed as a vampire, including Nathan Forbes and the dock whores he feasted on.  It seems unfair that she so cleverly got rid of the ghostly motley crew only to end up on Widows' Hill with Johnny on one side and the cliff on the other.  Will someone save her?  I can't help but wonder if this is the way gypsies really conducted their business--seems pretty dog eat dog and cruel.


827 - Another Fridian intro!

Caught between Widows' Hill and Johnny and his deadly knife, Magda doesn't know which way she wants to die.

Johnny asks her which it will be--the rocks down there or my knife?  He grabs her just as she's about to launch herself over the cliff.  "Let her go!" demands a familiar voice--Barnabas!  Johnny sends Istvan after the vampire, but he's immediately subdued by Barnabas' hypnotic stare.  Barnabas threatens to show him some stuff--if you don't let Magda go now--you won't like it.  Johnny refuses.  Barnabas locks eyes with Istvan.Johnny realizes Barnabas has put a spell on Istvan, but insists, "I can take it off."  Istvan heads toward the cliff's edge, Johnny calling, "Come back!"  Istvan stumbles as he stands on the rock ledge, then tumbles over, his muffled screams echoing along with the thunder.  Magda and Johnny are horrified.  "Now, let Magda go or I will send you after Istvan," says Barnabas quietly.  This is Barnabas Collins, the one you found in the tomb, says Johnny--you won't send me nowhere, he says, holding out a cross as Magda gasps--  "You ain't got no power over King Johnny."--you can't even come close as long as I'm holding the cross.  He threatens to send Magda over the cliff with Istvan.  Barnabas, back turned, warns him, if you do that, you will never bring the hand of Count Petofi back to your people.  "You brought it to him," accuses Johnny--"You helped her kill Julianka!"  No, says Barnabas, but I know who did kill Julianka and also has the hand--he's only a few miles from here--let Magda go, promise she is completely free, and you will get the information.  How do I know I can trust you, help me get the hand back? asks Johnny.  The hand has caused a great deal of pain and misery for all who've touched it, says Barn--it belongs to the gypsies, and I'm sorry Magda ever brought it.  You've told me what's in it for the gypsies, says Johnny--what's in it for you, Mr. Barnabas? The man who has the hand now has caused great unhappiness for my family, continues Barnabas--I want you to take the hand from him--take those powers away--the choice is yours--kill her or get back the hand.Magda assures Johnny that Barnabas is telling the truth, he can help you--put the cross away!  Johnny slowly lowers the cross.  Barnabas turns and looks at him.

Old House - Magda opens the front door and lets Johnny and Barnabas in.  The house is empty, she assures them.  We must be cautious, says Barn, my safety is in doubt because of the man who has the hand.  Johnny says I forgive everything, just tell me who has it.  You might find it difficult to believe, says Barnabas, but the hand is again with Count Petofi.  And he's here in this place, asks Johnny?  Yes, says Barnabas.  So, I will finally see him, says Johnny--the owner of that hated crest!  His crest was on Julianka's forehead when I found her dead, reveals Barnabas.  Petofi killed Julianka? asks Johnny, and turns to Magda.  He put a spell on me, she says, so I couldn't say anything, betray him.  Johnny vows, Petofi won't put anymore spells on MY gypsies, or kill anymore of them, either.  Barnabas warns, it's dangerous to go after Petofi alone.  It isn't dangerous for ME, boasts Johnny--I can't tell you why, but Count Petofi will know--where can I find him?  A few miles from here, says Barnabas, who asks for one last condition--that you use the hand on Quentin Collins.  Johnny protests--I can only use it on gypsies.  Barnabas points out--Quentin married a gypsy, his children are part gypsy--you'll be using it against your own people if you don't cure Quentin..Magda listens anxiously.  Johnny agrees, I haven't time, there's more important things to do--there is something that must be done, and it takes time.  He leaves the house, ordering them, wait for me.

Barnabas paces the living room.  Magda sits on the sofa, watching him.  Thunder booms.  Johnny's been gone a long time, frets Barnabas--are you sure you didn't tell him where to find Petofi?  How could I, after what Petofi did to me? asks Magda.  I don't understand it at all, says Barnabas.  There's a knock at the door and Magda and Barnabas exchanges glances before the vampire goes to hide in the back.  Magda asks who it is.  King Johnny, dressed in a very fancy velvet ceremonial robe.  He twirls around so Magda could admire it.  Johnny asks for Barnabas, who comes out.  You thought I tricked you when I ran off, says Johnny, tell the truth, that'[s what you thought.  Yes, says Barnabas.  I promised to cure Quentin, says Johnny, and I will--have him here by dawn.  I will do that, promises Barnabas but I can't be there myself.  Where is Petofi, asks Johnny.  Barnabas tells him about the abandoned mill.  I will find it, says Johnny--yes, and take care of things as soon as I take care of Petofi.  He pulls out the Golden Scimitar of the Romana tribe.  A hundred years ago, says Magda, it severed Petofi's hand from his wrist--it has always been sacred to the gypsies.  Tonight, it will be more sacred, says Johnny.  "So that's how you're going to get it back," says Barnabas.  It's going to do more than that, Johnny assures him--much more with me behind it.  Barnabas asks for an explanation.  You want to know too many gypsy secrets, says Johnny--just leave it to me.  He returns the scimitar to its sheath.  What if you don't find Petofi? asks Magda--I fear he's too smart to just sit and wait for the gypsies to find him--suppose he is gone? she asks Barnabas.

Mill - Johnny walks downstairs in his gorgeous velvet and fur robe.  No one appears to be home.  He ain't here, says Johnny.  He looks at a book opened on a table and picks it up.  The history of the Collinses.  We see Petofi's ruby-beringed hand curl around King Johnny's throat!  The gypsy struggles, gasping for breath.

Johnny struggles in Petofi's grasp, and succeeds in pushing Petofi's hand away from his throat.  Am I what you expected? Asks Johnny--and you WERE expecting me, weren't you?  Petofi nurses his hurt wrist.  Every time you killed a gypsy, you were expecting me, says Johnny.  I had no idea what you'd be like, says Petofi.  So every gypsy filled you with terror, deduces Johnny, for any one of them could have been me--the greatest, most magnificent!--there was no way of telling, was there?--was there?  No, admits Petofi, clearly scared.  So I'm not a disappointment, says Johnny--I am worthy of Petofi.  The latter picks up a knife.  "Put that down!" demands Johnny.  Petofi obeys.  (What is the source of the gypsy's power?)  It won't do you any good and you know it, says Johnny.  "I was so close to escaping you forever," boasts Petofi.  That's all over now, says Johnny, there is no escape for you now--to me and all the other gypsies, you were was a legend, until my grandfather Mateo died--nine days later, I had a dream, as my uncle Zago had, telling me that I was now the keeper of the hand--he told me that I was the only gypsy in the world that Count Petofi had no power over--"and you do fear me, don't you?"  Yes, admits Petofi, I do fear you.  Tell me why, says Johnny.  Because you are the one gypsy in the world I have no power over, says Petofi.  The one gypsy who has power over YOU, says Johnny.  Petofi begs to be allowed to talk for five minutes.  "My name is KING Johnny!" he reminds Petofi.  I won't call you, insists Petofi, you're no king--a king doesn't wear tawdry robes or have bits of glass and tinsel ornaments, bright handkerchiefs--a real king has rubies, diamonds, the real thing, furs, beautiful women to wrap them around, his palace is full of treasure he can't even count--and I can make all that real for you--the hand will give it to you, and you know its true power--the gypsies don't, and can't gain from it as I can.You think King Johnny is a fool? asks the gypsy--do you think I'd leave this room with my pockets stuffed with diamonds, and that hand still with you, roaming the same earth as the gypsies?--I wouldn't give up that hand for all the treasure in the world.  But we won't be roaming the same earth, says Petofi--I have a friend with exceptional powers, to a time almost 75 years from now--with that much distance between us, we will never meet again--it will all be over between Petofi and the gypsies when Barnabas Collins takes me to the future!  Johnny laughs--Barnabas Collins isn't your friend, nor is he taking you to the future--he told me where I could find you, and the hand.  Petofi, sits down, cradling his hand, and asks, what are you going to do?  You know, says Johnny--what was done to you 100 years ago.  "Take. . .my hand," says Petofi in a sickened voice--is there no hope, no mercy? he cries.  The same mercy you showed slaughtered gypsies in the Forest of Oshden, says Johnny--the same mercy you showed any gypsy unfortunate enough to cross your path--that is the mercy I will show you!  Then there's nothing more to be said, says Petofi.  Only this, says Johnny, drawing out the scimitar.  "How the knife gleamed when it came close to my hand," says Petofi--"The agony as it was severed from my wrist!--it was 100 years ago and I still remember!--I don't want to remember!"  This time you won't have to remember for long, says Johnny--"I am going to cut off your hand, Count Petofi, it will happen like it did 100 years ago."--there will be one difference--after I've taken the hand, I'm going to take your life, and there's no way you can stop me.  Petofi stares at him, totally fear-stricken and seemingly helpless for the first time.

Magda looks out the window, nervous, fretting--why isn't Johnny here?--what if Petofi is gone?  I don't think so, says Barnabas--Petofi went to a great deal of trouble having that false hand created, setting you up as scapegoat--I thinks he wants to stay here for some time--Johnny will succeed in his mission, Barnabas assures her, so why don't you go to Collinwood, get Quentin, and wait for Johnny--I think this will be the most important day of all our lives!

I've waited for this moment a long, long time Johnny tells Petofi.   The latter, sitting in a chair, suggests, you have waited TOO long--think of yourself instead, what you could gain if you let me go--you're sensible, we both are, there must be some arrangement we could make--I could give you things beyond your expectations, beyond your dreams!  What I want, I'm going to take, says Johnny--right now--I don't need any arrangement to do it--"Nine sacred candles, all burning."  We see nine candles lit before him.  "All ready!"  He pulls out the sword.  "Mateo, Zarco, all you of the Romano tribe who bore the honor and the glory and the power to stand up against our hated enemy, wherever you are, see this moment and make it your triumph, too.  King Johnny Romana, of all the men of his tribe, has found Petofi!--King Johnny Romana alone is going to do what must be done!"  He takes the scimitar and walks over to the terrified Petofi, whose arm rests on the chair's armrest.  Petofi's eyes widen to the size of robin's eggs as, overcome with terror, he watches King Johnny raise the scimitar high above his hand!

NOTES:  Whew!  Is Petofi going to lose his hand again, now that he's finally gotten it back?  Wasn't Barnabas' saving Magda wonderful, cementing the weird friendship they've developed over all this time?  Neat that Johnny has this ability to withstand Petofi's power.  You could see how fearful the Count was, and now we know why he's been so afraid of this pursuer for all these years.

Love, Robin