467 - (Discontinuity note: Barnabas is in a different robe in this episode than the one he was in the previous episode. He climbs out from the opposite side of the bed and the scene between him and Lang is totally different. Most of the scene is played with Barnabas standing, rather than lying in bed, as in the previous episode.)

Barnabas cowers in a corner of the room and orders Lang to close the drapes before he kills him. Look at the sun, says Lang, don't be afraid--look into the light! Lang supports Barnabas, who, hoping, fearful, turns and looks at the sun from the terrace of his room (fancy hospital). How warm the sun is, he exults, he'd forgotten. He lifts his hands, sure his flesh will wither. No, says Lang, you've--I know what you WERE. Barn asks if this is a monstrous joke, but Lang smiles and assures him it's true--he isn't sure how, but checks the former vampire's pulse. Can it all be over? asks Barnabas, hardly daring to hope--is the curse finished?--Angelique won't let it happen, it will end as it did with Dr. Hoffman's attempt at a cure. Lang says he's given him an injection to avoid a repeat of what happened with Julia. Barnabas asks if he can live as any other man. For now, says Lang. Barnabas, acting like a delighted little boy, tells Lang how often he wanted to step into the light--he'd forgotten the beauty of the day, the colors and light, the green of grass, trees, leaves, the blue of the sky.Barnabas' childlike grin is a lovely thing to behold. "I am alive again!" he says, then asks Lang how long will it last. They did it by chance, explains his doctor, and he knows what he did if there's a regression--he might go back--he's giving Julia his notes so she can treat him--she has his best interests at heart. Barnabas asks if Julia told him about his being a vampire, but Lang assures him she refused to tell him and he guessed on his own. Barnabas explains that he's been this way almost 200 years, chained in a coffin until last year. Who else knows? queries Lang. No one, says Barnabas. What about Angelique? persists the doctor. Barnabas hastens back into the room, reluctant to tell him, but finally says she was a witch he married before he realized what she was--her curse turned him into this creature, and he wishes he could hide from her still. In modern medicine he might find his best hiding place, suggests Lang, and he will defend him. Barnabas fears Ang will fight him, but thanks him wholeheartedly and ask what he can do to express his gratitude. Barnabas  vows to do whatever Lang wants, without question. Lang says he'll remember that, and tells him to lie down now. He's having the curtains removed; Barnabas will begin a new, exciting life. Lang is learning that, too.

The phone rings long at Collinwood, and no one answers. Roger is too busy staring raptly at Angelique's portrait, ignoring the phone. Liz answers, but the caller has hung up. She's annoyed with Roger for not answering--it might have been the hospital. She realizes Roger can't hear her; he calls her Naomi and says she's speaking senseless prattle--she must stop the senseless drinking, he adds, sounding very Joshua-like. She's concerned about his behavior, but he sourly says he's never given her cause to worry in all their married years. She orders him to turn around and look at her; when he does, he sees Liz dressed as Naomi. Your hands are shaking and your hair is a mess, he accuses her. She tells him she's angry and he tries to send her to her room, shaking a finger at her and calling her Naomi.Do as he says or he'll--and Liz smacks his face to bring him back to the present. She apologizes for hitting him, but says he wasn't himself at all. He remembers nothing. Both of them are puzzled. Liz describes his failure to answer the phone. You're making it up, he says. She asks him to see a doctor when they go to the hospital, but he insists he's all right. He gazes at the portrait and tells her that he has other things to do at the hospital besides seeing a doctor. What? Liz quizzes--why are you staring at the portrait so much? It fascinates me, he says--who is she really? Liz insists it's an antique and whoever posed for it is dead. Roger says she's wrong, sometimes, he hears the voice of the woman in the portrait. (creepy, brrrr!)

At the hospital, Liz presents a grateful Barnabas with a pretty bouquet. He happily says he wants to start working on the gardens at the Old House. To a faraway, unheeding, cold Roger, Liz comments that Barnabas looks well. Liz and Barnabas sit down and she tells him how scared they were to get the news of the accident. We're lucky, says Barnabas, and explains about the man on the side of the road and Vicki's losing control of the car. Vicki's a wonderful driver, says Liz, so the accident is odd. Roger looks around angrily. Liz says they came to see Barnabas first, and will be seeing Vicki next. Barnabas suggests Roger sit down, but Roger walks away and stares out the window. Barn asks Liz what's wrong and she says Roger isn't feeling well--she's trying to get him to see a doctor. Lang enters and Barnabas introduces Liz and Roger to him. Roger looks downright hostile, refusing to shake Lang's hand at first. Lang drops off some medicine, accidentally leaving his headpiece on the dresser. Liz wants to know when he and Vicki will be released, and he says Vicki tomorrow and Barnabas in a couple of days. While the others are engaged in conversation, Roger steals Lang's headpiece. Barnabas comments to Liz about all the plans he has, and she is surprised to hear her reclusive cousin is talking with such enthusiasm. She congratulates Lang for his treatment of Barnabas. Lang says goodbye to Liz; Barnabas and is puzzled by Roger's cold response. Barnabas tells Liz Lang is brilliant and he's deeply indebted to him. Liz is annoyed with her brother for his rudeness towards Lang, but Roger says he must get back to Collinwood. He looks icily at Barnabas and says, "It is not this easy." Barnabas begs his pardon, but Roger simply leaves. Barnabas notes Roger's remoteness to Liz, who assures him hes very fond of his cousin, she doesn't know what's going on with her brother. Outside the room, Roger pulls Lang's headpiece from his pocket and stalks off.

Later that night, Roger stands before Angelique's portrait.He brings out the headpiece and reverently says, "I brought it. It's his--his name is on it. I don't know if I can do what you put in my mind. There's no reason for me to think of it myself--but I will try!" Roger takes the headpiece and begins to twist it. Lang, in Barnabas' room, feels pain shooting through his head, but continues his questions about Angelique. She came from the West Indies? he asks. Yes, says Barn, she came to his father's house as a servant. Lang feels another pain as Roger twists the headpiece harder, and Barnabas rushes to find someone to help. Roger releases the tension on the headpiece and Lang tells Barnabas the pain stopped--very peculiar--he never experiences anything like that before. Barnabas thinks he may know the cause of the pain.It happens again as Roger violently twists the headpiece, causing Lang's vision to go dark. Barnabas calls for the nurse. Roger asks the portrait. "Why should I put it in the fire--what is he doing?" He doesn't care what happens to him (Lang or Barnabas?) Roger is about to toss the headpiece in the fire, then says he can't, not even for her! Lang is all right again, able to see, pain-free. Although the doctor is confused, Barnabas knows Angelique is responsible. She wouldn't come after me, protests Lang--she'd go after you. Perhaps she can't, suggests Barnabas. He tells Lang he wants him to stop treating him, let him revert to what he was. Lang refuses, but Barnabas fears she will destroy Lang--her revenge on both of them for curing him--Lang's payment will be death unless he stops it. Roger kneels before the fire, staring at the flames. The camera focuses on Angelique's portrait.

NOTES: The portrait has gotten its claws into Roger, but good, and Angelique apparently wants to ensure that her husband, former vampire, reverts back to being what she made him--even if she has to use Roger to make it happen! Angelique never hesitates to use someone to do her dirty work, and right now Roger is in Ben's position, being influenced to hate Lang as much as Angelique herself must right now. He is foiling her plans!

How touching is it to see the glow on Barnabas' face when he realizes he can look at the sun, stand in it, enjoy its warmth? That he can plan a garden and actually tend it himself, see the blossoms open in the sunlight? That scene on the terrace is such a good one, and I always tear up for Barnabas' joy.


468 - Vicki is in the hospital bed, her throat bandaged. Lang takes her pulse. She asks if he's releasing her, she wants to go home and stop lying there with nothing to do but think. She asks if she can leave this morning; she has something to do. He checks her shoulder and the marks on her neck, which she doesn't remember getting--and they're gone! How can that be? wonders Vicki. Because the cause of them has been eliminated, says Lang--a miracle, and only the first miracle. We focus on Barnabas' portrait, then Angelique's.

Hospital - Vicki looks at herself in the mirror and runs her hand over her unmarked throat. She's packing to leave the hospital. Jeff Clark enters her room.  She greets him unenthusiastically. "I'm not Peter Bradford today?" he asks.She's embarrassed at her misidentification of him--she couldn't believe he wasn't Peter. Maybe I am Peter Bradford, says Jeff, but if I were, I'd remember. He lifts her suitcase and asks to drive her home. Lang comes in. Jeff looks uncomfortable and Lang seems to know him. Lang tells her Barnabas was asking for her, and she leaves to go to see him. Annoyed, Lang asks Jeff what he's doing here--he doesn't want him hanging around the hospital--get back to work. Jeff insists that he's taking her home. No you aren't, says Lang. Jeff says the doctor can't control who he sees, but Lang reminds Jeff he's forgetting something. Jeff complains he's more of a prisoner with him than he was. . .Than when you were where? queries Lang, and Jeff walks away. He tells Lang he wants to drive Vicki home; she thinks he's someone named Peter Bradford. Lang asks if that name means anything to Jeff. No, but he wants to find out something, if possible. Not from her, says Lang. Why? asks Jeff, and Lang gets pissed off--he asks too many question. Lang reminds Jeff he agreed to come work for him willingly. "But I didn't know then. . ." begins Jeff. Did you care what his duties were, then? asks Lang pointedly. No, answers Jeff. Don't develop a conscience, advises Lang. Jeff wants to have friends, but Lang says all he needs is someone who doesn't think he's Jeff Clark. She might know something about him, says Jeff, but Lang says to stay away from her--he might have plans of his own. Jeff demands to know what plans, but Lang refuses to respond. Lang tells him to leave, but Jeff refuses. Lang pointedly asks Jeff, if you weren't working for me, what would he be doing--and where would you be? Jeff touches his forehead and quickly leaves the room. Lang leans on Vicki's suitcase looking satisfied.

Vicki returns to the room and tells Lang Barnabas really has changed for the better. Lang tells her Jeff had to leave, which startles her. Vicki says she will take a taxi home, but Lang offers to drive her himself--a pretty girl like her can't be left alone. Lang asks Vicki about herself. She tells him she's got no family; she was raised in a foundling home--she's got the Collinses now, but not forever--David will eventually go away to school. (or prison) What will she do then? He asks. Vicki doesn't know. You're the kind of girl who interests people, he says--I have a feeling that you're destined for a very unusual, significant life. She seems to find this comment peculiar, but they leave together.

Carolyn, standing in the foyer, checks her scarf, wondering why she always wears it. Julia says that's a curious question to be asking HER; what game are they playing? None, says Carolyn--she saw Barnabas at the hospital, and he's changed in a good way--he was so unhappy, and made those close to him unhappy--as he did Julia. Julia is awed--this is the way Carolyn used to talk to her before she became so "close" with Barnabas. Carolyn says she's been too involved with Barnabas, she needs a life of her own. She pulls off the scarf and Julia sees the marks are gone."They're gone!" Carolyn says exultantly, and asks what it means. "He's as free as you are," says Julia, and determinedly says that it must last.

Foyer, Collinwood - Vicki tells Carolyn about Jeff. Perhaps Jeff is Peter, suggests Carolyn, perhaps he's a ghost, like Sarah. This guy isn't a ghost, says Vicki, and Carolyn apologizes for getting carried away. Vicki wishes she could pretend her trip to the past never happened, but she can't. Carolyn assures her she didn't dream it--she saw her in the ancient dress. She's got to find out where she was and what happened, frets Vicki. Call Jeff, encourages Carolyn, perhaps Jeff is Peter and doesn't know it. Vicki agrees to call him at the Collinsport Inn, but in consternation learns told that no one named Jeff Clark registered there--and never was. Vicki laments that nothing is simple and Carolyn suggests there's a logical explanation. He's gone and she'll never see him again, says Vicki. Julia comes in, and Vicki desperately asks her what she's going to do--what? Try to be sensible, advises Julia. Vicki looks out at the stormy night (it's really raining). Vicki tells them she has to go prove the secret room exists. Carolyn says she'll go with her, but Vicki reminds her she and David are going away early the next morning. Julia volunteers to accompany Vicki to the tomb, but Vicki says she must go there alone to remember everything that happened. Julia insists on joining her--she might need her--and promises to stay silent. After they leave, Carolyn stares out at the rain.

In the cemetery, a man walks into the mausoleum. He hears Julia chiding Vicki, "You're going much too fast." The secret room is inside, says Vicki, she doesn't remember how she knows it, but she does--Ben took her there, he was Barnabas' friend. How would this friend know, asks Julia, but Vicki doesn't recall. There was something terrible in here, recalls Vicki. Julia tries to discourage her from going in, but Vicki is insistent. Both carrying flashlights, they enter, and find Jeff standing huddled in one corner of the tomb! Vicki covers her mouth and screams "Peter!" Jeff introduces himself to Julia, explaining that he was taking a walk and it started to storm, so he came in there. Vicki nearly faints and they help her sit on a coffin. The last time she saw Peter safe was in the tomb. She asks Jeff if he remembers--they were in the secret room, he was going to Collinwood to warn them Daniel was in danger--he gave her a gun.Jeff is clueless, and yells for her to stop talking about his being Bradford. She apologizes, then he does. He doesn't understand any of it, he wants to help her, but all her talk of secret rooms and guns bothers him. Julia asks where the secret room is, but she doesn't remember. Jeff touches his head. Vicki remembers one of the panels moves, but can't remember which. Peter walks to the middle panel and reaches up to pull on the ring in the lion's mouth. The door swings open, shocking Vicki. Julia stares at him in surprise.

NOTES: So, is this Peter Bradford, reincarnated as Jeff Clark? How did he know the way to open the panel if he wasn't there with Vicki?

Now both Vicki and Carolyn are free from Barnabas' control (not that either of them ever really seemed to change under the vampire thrall, not nearly as much as Willie or Maggie), they can pursue their own lives. Barnabas' hope when Julia was working to cure him was to be with Vicki as a normal man. Now he is one, assuming Angelique can't stop it, and he will probably return to romancing her. Now that Jeff/Peter is in the picture, who knows what will transpire?

Real rain is highly unusual on this show. I wonder why they used actual water.

Love, Robin

463 - Vicki goes to the cemetery with Liz to search for Peter Bradford's grave. Liz is upset that Vicki is overexerting herself, and Vicki is upset at how unkempt the graves are. Liz tells Vicki she can't be with Peter ever again, hurting the poor girl. Liz knows it's tactless, but she fears Vicki will hurt herself more if she goes on this way.Vicki says Peter was the only one who cared, who was willing to defend her--if she finds his grave, she'll know he lived. The record isn't real to Vicki, who feels like she's having a dream. Vicki instinctively seems to know which grave is Peter's, and there it is--he was born in 1770 and died in 1795. "Peter!" says Vicki forlornly. "Poor Vicki," sympathizes Liz.

Liz kneels beside Vicki and tells her not to cry. He died April 3rd, points out Liz, and it's dusk. She was hanged at dusk, says Vicki, and realizes Peter is going to the gallows at this moment, and she can't stop it. Vicki says Peter is dying because of her, which Liz denies. I killed Noah, not Peter, insists Vicki. Whatever happened to you a week ago has nothing to do with this, says Liz. Vicki wonders if she and Phyllis simply exchanged places--did it all really happen to her? She doesn't believe Peter loved Phyllis, he only loved her, and he didn't kill Noah. It was here in this graveyard, at night--what was she doing here? Why was she here? Daniel. . .she heard him scream, Noah was strangling him. Why did she have a pistol? Peter gave it to her, but why? Liz wishes she could help, but Vicki says she must learn the answers herself. Liz tells her she must recover completely, and Julia will be angry at her for letting Vicki stay out so long. Vicki seems far away, distracted. Liz assures her they'll have the caretaker clean up the graves. Vicki doesn't want to return to Collinwood, she has something to do in the village--she doesn't know what, but it's very important.

Collinwood - Carolyn, dressed for riding (and looking adorable and rich), returns home to find Tony Peterson there. He apologizes, calling her "Miss Stoddard". He remarks that she's looking very rich. He hasn't called her in a week, she says, has she lost her appeal? He reminds her the last time he saw her, she was in his office, stealing Julia's diary. She was curious, says Carolyn. Curb it, he says, or you'll get yourself arrested. She tells him Julia is DR. Hoffman. He suggests she put the diary into a safety deposit box and try charming the president of that bank--and leave him alone. She coyly asks him to ask her out to dinner, and he seems annoyed, wanting to go--he just explained. He admitted he has very little ego, she reminds him, but she likes being with him, regardless of Julia's journal. Meet me at 8 o'clock, commands Carolyn, I'll be dressed and waiting. He says he won't be here, and she's grinning widely as she walks upstairs, knowing what the outcome is going to be. (I love their dialogue!)

Barnabas enters and greets Carolyn on the landing. I want to talk to you, he says. I'm having dinner with Tony, Carolyn tells him. That can wait, he insists, but she seems ready to defy him. Finally, she troops back downstairs. He asks about Vicki, and then asks if she noticed that Vicki now seems "more like you." Carolyn touches her throat--she didn't notice. He says he must stop Vicki's obsession with the past. You should have allowed Vicki to feel whatever she feels, protests Carolyn, but their discussion is interrupted by Liz and Vicki's entrance. Vicki is carrying a painting, and Liz tells her to go get the easel that was in the study. Vicki sets it on the foyer table and uncovers it. Vicki insisted on buying it after seeing it from the window. Liz asks Barnabas to fix her a sherry. Liz tells her it's early to bed, but Vicki says she keeps having nightmares. Even last night? asks Barn. Yes, says Vicki. Liz comments that the portrait goes so well with the house. Vicki says it's a very familiar-seeming woman and turns it around so Barnabas can see it. He's horrified. "Angelique!" he explodes, and Liz remarks that she IS angelic looking. (LOL!) She asks him where he thinks it was done. "Does it matter?" he asks, clearly perturbed--I don't have time to examine is carefully. He asks Vicki if he'll see her later, and Vicki touches the scarf around her neck and says no, not tonight--tomorrow.He comments before leaving that the painting is of very little value. Vicki realizes Barnabas didn't like the painting, then adds that he really shouldn't. When Liz asks her what she means, she says she didn't say anything. They look at Angelique's face staring out at them from the portrait.

Carolyn is gazing at the portrait in the drawing room when Tony comes in. He's late, she says, but he refuses to drink in "this mood." She wants them to have fun. She's in a fancy dress, and his idea of fun is a ball game, bowling, or fishing. I am, from your point of view, disgustingly normal, he comments. Don't tell me my point of view, insists Carolyn--she wont change, he will. Do you want to bet? he counters

Barnabas gazes from the old house window and summons Carolyn to come to him, now, immediately, he needs her. Tony affably suggests neither of them try to change the other--they should just have dinner together. Carolyn, distracted by Barnabas' summons, just walks out on Tony without a word. She has something she has to do, she says, refusing to explain. She won't tell him where she's going, and tells him she'll meet him wherever he wants. No, he says. She goes, and he grabs his coat and follows her. At the Old House, Carolyn tells Barn she can't stay long, and he's annoyed--she promised to help him. Now he needs her. . .it never worked with Vicki, he says, and he doesn't know why. Maybe he does know--the picture told him. There's a spell working on him, using Vicki to fight him. Carolyn is confused. Barnabas can't explain, he knows she's anxious to go on her date. She assures him she'll do anything for him--she came here, didn't she? Yes, says Barnabas, pleased, grateful. They must do something for Vicki immediately--the witch must be burned, says Barn. What witch? asks Carolyn, and he tells her the woman in the picture is the witch. She giggles, and he isn't happy. A picture can't fight you, chuckles Carolyn--a witch can't be bought in an antique shop. He'll deal with that himself, tonight, he says. She asks what he wanted from her "Comfort me," he commands, and she goes to him, promising to try to do that. Tony watches from the window, disgusted, as Barnabas buries his face in his cousin's throat! (Imagine what he's thinking--incest is best?)Tony is pacing the foyer when Carolyn returns. He asks if Barnabas agreed they could go to dinner, admitting he followed her. How dare you? she asks. My words, he says, how did you dare?--he doesn't understand! What did you see? she asks. He offers a list--I saw you, in that old man's (? - sorry, this rankled then, and rankles now) arms--you with him while I wait to take you to dinner! What do the two of you want from me now? Carolyn protests, but there isn't much she can say, except, "It's not like that." Then you're in love with him, accuses Tony. "He's my cousin," she reminds him. He accuses her of being decadent--that was no cousinly kiss he saw. He tells her to enjoy herself, she begs him not to go, though she can offer him no explanation. Tony calls her "poor little rich girl" and walks out. Carolyn runs upstairs, crying, and slams the door. (Poor Carolyn, trying to lead a normal romantic life and having to deal with this sticky wicket.)

Barnabas enters Collinwood at 2 AM, goes into the drawing room and stares malevolently at Angelique's portrait. Carolyn, sitting on the sofa as though waiting for him, rises and tells him no to send for her anymore. He loves Vicki--she doesn't want him to use her. She wanted to go out for dinner. He accuses her of behaving like a child. She's young, she reminds him, she wants her own life--leave me alone. Barnabas harshly promises they'll talk tomorrow and orders her to go. She trails off, despondent. He tells Angelique's portrait he's had enough of the curse, he doesn't want everyone around him to die, too, now that she's found him again. He won't let her do it, he says, viciously slitting her visage out of the portrait and tossing it into the fire."Burn!" he cries. "It's the only way you will die, the only way this curse will end. BURN!" He's grinning as he walks away from the fire, thinking he's won, but he hears Angelique's laughter and turns to find the portrait restored in its frame. "NO!" he shouts. "NO!" He looks for her. "Where are you?" The laughter continues, mocking him.


464 - Julia does such great introductions, doesn't she--re: Barnabas--the past will never die; indeed, his past might be catching up with him.

Vicki comes downstairs and overhears Roger reciting love poetry to Angelique's portrait. She smiles, finding the sight amusing and sweet. She asks what he's doing and he doesn't even hear her at first. He congratulates her on her taste--for the fourth time, apparently. He is obviously in love with the portrait--he adores it, he's never seen such a spellbinding face. Vicki still isn't sure why she bought it, but he says the face justifies the purpose. Perhaps I met her in the 18th century, suggests Vicki. Roger doesn't believe she was there; he believes in common sense. Her trip to the past was charming, but it didn't happen, insists Roger. Preposterous. Then what about Phyllis? asks Vicki. Mass hallucination, says Roger--or they're all quite mad. It did happen, maintains Vicki, and she'll prove it to him. Julia enters. He asks her to look at Angelique's portrait. He tells her of Vicki's purchase, and lauds the beautiful face. Julia says she's pretty, but Roger says it's much more. Then he calls Julia Countess duPres, startling her. He doesn't remember doing it when it's pointed out. How very curious, he says, and Julia agrees, gazing with confusion at Vicki (Julia looks lovely here, her makeup and hair gorgeous).

Professor Stokes makes his first appearance, looking far better than his scruffy ancestor, Ben. Vicki sees the resemblance immediately, and tells him he looks like someone she once knew. He tells Vicki she is very attractive (he's a charmer, that Stokes, isn't he?) They go into the drawing room, where Barnabas waits, and who is equally startled as he shakes Stokes' hand. I have come to see the portrait, explains Stokes--I had wanted it for myself, it was promised to me. He examines it regretfully. Vicki hopes he isn't there to buy the painting from her, she isn't selling. He offers $200; he's interested in reconstructing the lives of his 18th century ancestors. Barnabas asks how he's going about it. Articles of clothing, diaries, says Stokes--one of my ancestors worked at Collinwood. Ben Stokes, says Vicki--she read of him in the Collins family history.Prof. Stokes is puzzled; he didn't see it there. Barnabas asks how Stokes knew about Ben. He wrote a book of memoirs, says the Professor. Barnabas asks if this isn't unusual for a servant to read and write. Yes, says Stokes, he was illiterate until he was over 40, in 1795, then there was a change in Stokes' life. He was an indentured servant, and Joshua Collins gave Stokes money and a parcel of land--Ben died at 75. Barn asks why Joshua did these things for Ben. Ben's memoirs were burned in a fire a few years ago, reveals Stokes, and most of it is illegible. Unfortunate, comments Barnabas, who suggests Vicki accept Stokes' offer to sell. Roger overhears and says he'll offer Vicki $500 for the portrait. Stokes can't top that, and says Roger must be enamored of the painting. Stokes thinks the woman in the painting was somehow related to Ben Stokes. Vicki, staring at the portrait, tells them she remembers--Ben hated that woman, she was Angelique Collins. Barnabas looks horrified, but Roger says there was no one by that name in the family. Vicki tells them Angelique married the first Barnabas, was a witch, and almost destroyed the family using witchcraft. Barnabas looks quite unhappy over Vicki's returning memory.

Stokes and Barn leave. The Professor wonders how Vicki knew the portrait was of Angelique. Stokes reminds Barnabas of the official Collins history, which Roger knows, and what has been omitted--Stokes knew of Ang's existence, but not that she might have been a witch. This might provide him with answers to certain events of the past. In 1795, Collinsport was the scene of a dozen violent, inexplicable deaths. Hearing this, Barnabas looks ashamed. Stokes hopes to solve those murders. A bit late for justice, suggests Barn. But not to history, amends Stokes. Stokes is convinced Vicki can help him; he's a devoted student of the occult, and senses more than an affinity for the past--she knows it as if she had lived through it. Stokes smiles and bids Barn goodnight. Barn looks quite nervous as he watches Stokes walk away.

Vicki gets into bed. We see Josette's music box on her dresser. Barnabas, staring out the Old House window, says that Vicki now represents too great a danger to him, and he must do something about it. He orders her to come to him when she hears the music. Josette's music box opens by itself and Vicki, in a trance, climbs out of bed and takes it into her hands, listening intently. Barn tells her not to be afraid, to let the music guide her to a new life. "Come to me, Vicki, come to me!" he commands. She does so, and he opens the door to let her in. He guides her into the house and closes the door. She's in a black and white nightgown instead of the blue one. He takes her into his arms and tells her that when he sends for her again, she will be prepared for him--they will go away together for the rest of time. He pushes her hair out of the way and buries his face in her throat.

Morning. Julia enters Vicki's room, awakening her. Who is it? Vicki asks. Just checking on you, Julia says. Vicki had a bad dream--strange, she can't remember it. Julia suggests she go back to sleep, but as she settles Vicki back in bed, she spots the marks on her throat.Oh, oh, Barn lied!

Julia goes to the Old House and Barnabas confesses he brought Vicki to him--she knows what I am, says the worried vampire, and he can't allow her to reveal that to anyone. Julia insists she doesn't know, but Barn says Vicki recognized Angelique. Who is that, queries, Julia, but Barn simply says, "Never mind!"--the point is, if she knows what Angelique is, she knows about him, too. Julia curtly reminds him SHE knows what he is, and if he doesn't do as she tells him, she'll tell everyone. He promises her that before the authorities get him, he will get HER, and she crisply says she'll take her chances. Think it over, she advises. Let Vicki alone or run the risk of being exposed to the world--I'll give you until tomorrow night, she says.Barnabas looks more desperate than ever.

NOTES: Julia has given her ultimatum (don't you just love her chutzpah?)--what will Barnabas do? When backed into a corner, he's usually not too rational, so we wonder what course of action he'll take now.

I have always thought Professor Stokes a truly marvelous character, totally different from Ben, but just as fascinating. It's hard to believe both characters are portrayed by the same terrific actor, but they are, and these are just two samples of the incredible work performed by Thayer David over the course of DS' stint. They were very lucky to have an actor with such range.

Love, Robin

459 - (Thayer David) A seance has been held in the great house of Collinwood, a seance which has suspended time and space and sent one girl on an uncertain and frightened journey into the past, back to the year 1795. There in the master bedroom of the Collins mansion, a woman hovers between life and death, the victim of a curse placed upon her son. He waits alone, hoping beyond hope that the curse will not be carried out.

Barnabas walks into the drawing room, anguished. She can't die, he tells Ben.Ben says no one knows how much poison she took, and reveals that Forbes told Naomi where to find him. Barnabas assures him Nathan will pay for that--I begged my mother not to love him, warned her about the curse, but she wouldn't listen to me. You can't just tell someone to stop loving, Ben points out. Barnabas frets: where is the doctor? Why is he taking so long? Joshua comes downstairs and tells them that there's no need for a doctor--"Your mother is dead." Barnabas face crumples with grief. Joshua asks Ben to leave them, he wants to talk to Barn alone--but stick around, he'll need him later. Joshua assures Barn Naomi died quietly, but this is little consolation to Barnabas. Joshua feels he's to blame for her death, too, she wouldn't have taken her own life if she felt she could turn to him. Barnabas says he never heard his father speak this way before. She told me she loved me, says Joshua. "You didn't know?" asks Barnabas, but Joshua said he thought she'd stopped loving him long ago. "Because you stopped loving her," says Barnabas. "Perhaps," says Joshua--I wanted to love her, she was my wife. But you didn't, says Barnabas. Uncomfortable, Joshua suggests he's incapable of loving anyone. It could be your salvation, says Barnabas--you can't love me, so you won't be a victim of the curse. (As if he isn't already a victim--he's lost his sister, daughter, wife and, for all intents and purposes, his son!) The curse must be ended, insists Joshua, and he'll do it. He can't allow this to go on any longer, anymore people to die--he must destroy him, but he couldn't drive a stake through his heart. There's another way, says Joshua, a silver bullet fired directly into his heart will do the job. He learned this in Boston. He must destroy him, and if Barnabas has any human feeling left, he'll let him do it. He's sent Riggs into town to have a silver candelabra turned into 6 bullets, and he will use those bullets to destroy him. Barnabas asks where Forbes is, and Joshua is about to respond when Ben burst in--Vicki is gone! Search the grounds, orders Joshua. Barn asks if there's a price on Vicki's head, and they both realize Nathan took her to get the money. He must die, insists Barnabas, but Joshua doesn't want that. He's responsible for Naomi's death, says Barnabas, but Joshua doesn't want his son committing anymore destruction.This will be his one last act, says Barnabas, "and one which will give me enormous pleasure." Joshua can't stop him--no one can. Barnabas walks out, leaving Joshua absolutely miserable.

At the Eagle, Nathan sifts through his ill-gotten gains, and tells the young lady at the table with him he's leaving Collinsport, without his wife, for whom he has special plans. You'll be missed, she says, being so handsome and all, and slides an affectionate arm around him. Nathan suggests she join him. Their flirting is ended by the sight of a huge bat fluttering outside the window of the Eagle. She's terrified, she hates bats. She wants to go lie down for a while, she says, and if he wants company, he knows where to find her. Left alone, Nathan orders another drink. Suddenly he hears Barnabas' voice calling "Forbes!" Nathan looks surprised, and fearful. Did you think I'd gone to England? asks Barnabas. That's right, says Nathan. You told my mother I was alive and in the tower, says Barnabas--she found me there, and she's dead!--she killed herself because she found out about me--and she found out about me because of YOU! I didn't want any harm to come to her, says Nathan, sounding genuinely distressed to hear this. And what about Daniel? pursues Barnabas. I lost my temper, but didn't mean to harm the boy, protests Nathan. And Millicent? pursues Barnabas. I'm married to her and love her very much, insists Nathan. Barnabas calls him a lying hypocrite--"You'll stop at nothing to get what you want--MY MOTHER IS DEAD BECAUSE OF YOU!" cries Barnabas, clearly scaring Nathan. Barnabas smashes his cane on the table, destroying the glassware. Nathan denies this accusation, then pulls out his pistol. "I've captured the Collinsport strangler," announces Nathan triumphantly, pointing the gun at Barnabas, who laughs and retorts, "Is that what you think?" I know it, says Nathan, and we're going to the constable--I'm not bluffing, I'll shoot. "Go ahead, shoot me," orders Barnabas. "Shoot! SHOOT!" Nathan fires. Barnabas momentarily clutches his chest, then looks the wide-eyed Nathan in the eye and says, "I cannot die because I am already dead! Do I frighten you, Forbes? I do not plan to kill you, at least not here and now. Later, Forbes, after you've had time to think about it. Nine o'clock. When the clock strikes nine, you will die!"Nathan gazes wildly around him, but Barnabas has disappeared. The barmaid reappears, demanding to know where the shots came from. "He isn't human!" cries Nathan. "He isn't human! I've got to get out of here!" He flees the Eagle, observing that the time is 8:30.

8:45. When Rigs returns with the silver bullets, bring them to me, along with a revolver, Joshua orders Ben--I'll do the job in the secret room--bring the coffin there--I will do it at sunrise. Nathan rushes in, begging Joshua to help him--I saw Barnabas at the Eagle, but no one else saw him--I fired a bulletin into his chest, but didn't die, he just disappeared. He's a vampire, reveals Joshua, to Nathan's pure horror, placed under a curse that has destroyed this family and, in due time, Barnabas himself. Nathan can't believe it--Barnabas threatened to kill him! (Ben grins a cute, happy smile.) Joshua is surprised Barnabas didn't kill Forbes, who he blames him for Naomi's death--as do I, says Joshua--I have tried to talk to Barnabas, but can't talk him out of his plan--I'm almost sorry for you, he tells Nathan, but there's nothing I can do--I won't stick around, and don't want to see what is going to happen to you, adds Joshua, and leaves. Ben reveals to Nathan that he knew about and protected Barnabas for a long time--I tried to stop Barnabas once, tried to destroy him in the one way he can be. Nathan begs to know this information, but Ben withholds it for a few moments, then slyly tells him the way to kill Barnabas is to go to his coffin tomorrow morning, when he's resting, and drive a stake through his heart. But by tomorrow morning, chortles Ben, "you'll be dead!"Nathan's face shakes as he contemplates this horror. Nathan starts to leave Collinwood, but hears dogs howling, which Ben says means HE'S nearby. It's 8:56. Nathan looks like his eyes are about to spring from his head. Ben leaves him, too, saying he doesn't want to be around when it happens, either. Nathan's only hope is to be with Joshua, perhaps Barnabas won't harm him then. Joshua is sitting in the study, but he refuses to be with him at 9 PM. Then Nathan spots the crossbow hanging in the study wall and tells Joshua he's right--he should go--I was being cowardly, I might as well face death like a man. Joshua sadly says he almost wishes he could do something for him, in spite of everything. He goes.  Nathan takes the crossbow down from the wall and loads it with a wooden arrow--if it pierces Barnabas' heart, it will destroy him. The front door opens and Barnabas enters. He heads to the study. Nathan waits with the loaded crossbow, standing against the door for a moment. He aims the crossbow at the door, steps back, and fires it where he figures Barnabas' heart will be at the right moment. Barnabas' booted feet walk inexorably across the carpet. The clock strikes 9. Nathan cautions himself to be steady, aim carefully. The storm rages outside. Barnabas opens the door, enters (he could have just materialized in the room and really scared the crap out of Nathan). He spots Forbes with the weapon, shouts, "NO!" Nathan fires. Barnabas screams as the arrow enters his body.

NOTES: Exceptional performances by all here. I hate Nathan, but Barnabas' threat scares me almost as much as it does him; I am that caught up in Frid's performance. Ben is having so much fun watching Nathan's terror, and when he tells him he doesn't want to witness what Barnabas is going to do to him, you sense he really DOES want to stick around and watch Forbes get his. Joshua, on the other hand, cannot bear the idea that if Barnabas continues to survive, he will murder other innocents. How much worse can it get for this father, who you KNOW loves his son, deep down, to be forced to contemplate destroying him? It really chokes me up.


460 - (Alexandra Moltke) A seance has been held in the great house of Collinwood, a seance which has suspended time and space and sent one girl on an uncertain and frightened journey into the past, back to the year 1795. There, in the village of Collinsport, Victoria Winters has been unjustly accused of witchcraft, and on this day she will be hanged by the neck until dead. And another she has known, Barnabas Collins, faces a final and ultimate destruction.

Unfortunately for Nathan, his arrow missed Barnabas' heart; the gleeful vampire withdraws the arrow and triumphantly informs him of this--"It didn't hit me!"Nathan, after hurling a piece of furniture at Barnabas in one last-ditch effort to save himself, succumbs to the vampire's strangling hands.

Joshua enters the study and tells Barnabas Ben buried Nathan (and I bet with a great deal of satisfaction, too!) They'll say he left Collinsport, everyone knows he was a blackguard and won't be surprised he deserted Millicent. Joshua told Millicent Nathan was gone, but she only remembers a suitor named Forbes who deceived her and that she sent him away. Barnabas is glad she doesn't even remember her marriage, and Joshua plans to have the union annulled--as far as history is concerned, it never happened (which is why, in the history book, Millicent never married). Barnabas observes his father is trembling. He asks if Joshua has the gun and silver bullets, and when he nods, tells him to use it. Joshua can't, not here or now, but Barnabas says he must, or he'll go on destroying--Angelique's curse, Barnabas begs his father. Joshua says he wants to wait until the morning; he instructed Ben and Riggs to carry the coffin back to the secret room in the tomb--go there at sunrise and he will do what he must. Barnabas seems pleased at the thought of eternal peace, and Joshua says that, although he doesn't know what lies beyond the grave, he wishes his son some kind of peace. (sob!) What will happen to you, Father? Barnabas asks. "I'll survive," says Joshua. Millicent? She won't recover, and Joshua will care for her as his own daughter and make Daniel his adopted son and legal heir--I hope to be a better father to him than I was to you and Sarah. Barnabas laments his sister's death, wishing he could undo what he has done. No one will ever know about you, promises Joshua, or what happened after Angelique came--every mention of her name will be struck from the family record, and both Jeremiah and Naomi will have died natural deaths--no mention will be made of the duel. Barnabas wishes this really was the truth, but Joshua says it will be true in historical terms--the world will only know Barnabas was his son and went to England--that is all. The cock crows. Daylight is near. Barnabas asks his father to free Ben--he deserves it for being so loyal. He also asks Joshua to try to save Miss Winters. I've tried and failed, reports Joshua, but Barnabas asks him to appeal to the governor and ask for a stay of execution and new trial. Joshua promises. Barnabas says he must go. Joshua hesitantly says he was never able to show much affection. . .Barnabas asks him not to show it now--forget I am your son, forget I ever existed. Joshua cries that he can't. You must, insists Barnabas. They exchange good-byes, and a heartbroken Joshua watches his son walk from his sight for the last time.They gaze at each other for a long, long, sorrow-filled moment, and Barnabas leaves. Joshua sifts the silver bullets through his hands, then takes a pistol into one shaking hand and looks as if his heart is going to break at the thought of destroying his only son.

Later, in the mausoleum, when the time comes, however, Joshua holds the pistol over his son's inert body, aimed at his heart, and can't bring his shaking hands to destroy him. He closes the lid of the coffin. Ben enters and asks if it's done. I couldn't, says Joshua. Ben didn't hear a shot and seems pleased. "He was my son and heir," says Joshua, "whatever has happened to him, I couldn't forget that." He orders Ben to confine Barnabas to his coffin forever--he learned in Boston that if a silver cross is affixed to the inside of the lid, facing him, Barnabas will be immobile--using the silver bullets would have meant his final destruction. The alternative is dangerous, adds Joshua--if someone gets into the secret room and frees him, Barnabas will roam the world again. Ben feels that will never happen. It might, says Joshua. He has the cross, he wants Ben to affix it to the inside of the coffin lid, facing Barnabas, then bind the coffin with chains. Ben vows to do so. Try to forget, advises Joshua. Ben wants to, as does Joshua. They leave the secret room, Joshua hobbling like an old man.

Back at Collinwood, Joshua sits in the study, thinking Stokes must be finished.  Goodbye, Barnabas, he says in his mind, I hope you find peace--some kind of peace.At the tomb, Ben is locking the final chain around the coffin. He, too, bids Barnabas goodbye, then closes the door for what he believes will be eternity. Ben enters the study. Joshua has him sit down; he wants to talk to him. I did everything I was told to, says Ben. He gives Joshua the key to the gate, and says it will never be opened again, until Joshua dies--and then never again. Joshua explains that he promised Barnabas that he would free Ben--to go wherever he chooses to go, and will give him a hundred dollars. This pleases Ben immensely, but Joshua assures him he earned it. Someone knocks at the door and Ben brings a letter to Joshua--the governor refuses to stay Miss Winters' execution. Vicki is going to the gallows--innocent. A sorrowful Joshua wishes he could help her, but there's nothing he can do. He looks sad, old and very depressed.

At the gaol, Vicki seems to pray. Peter is allowed in to see her and they hug. He thought they'd never see her again, but seeing him was her last request. They ask to be alone. They have five minutes before she's scheduled to be executed, and Vicki clings to Peter and he holds her close. They sit on her bunk, trying not to think about what's to happen. She wants him to convince the judges she killed Noah--she tried to tell them, but they refused to listen--Peter can't die for what she did. He asks her to stop talking and thinking about death--what were you like as a little girl? questions Peter--what was your favorite flower, color, music, best book you ever read, and the happiest time you ever had in your life? She smiles, delighted, and he's glad to see it. She wants to know all that about him, but they have so little time to get to know each other. They profess their love for each other, the first time she's said it--she was afraid to say it before, but not now. They kiss, lengthily. Vicki hears the jailers coming to get her. I swears I'll find you, vows Peter, and Vicki promises to remember. They hug one last time, but the jailer shows up to take her to the gallows. She and Peter exchange one last, loving look, and she says goodbye. They kiss once more, but the jailers separate them. I'll find you, Peter says again.The gallows are tested with a heavy canvas bag. This set is very effective, foggy, dark and dismal. Vicki is led outside and stares with fear at the scene. She walks up to the gallows and is assisted up to the platform. The rope is placed around her neck. When asked, Vicki indicates that she wants a hood placed over her head, and this is done. She hears Peter's voice in her head, reminding her that he'll find her again. "May God have mercy on your unrepentant soul," says one of the jailers, and the platform falls under her feet. We see the rope swinging back and forth.

As a final, sad coda to this episode, we see Barnabas' coffin, chained.

NOTES: RIP Nathan Forbes, you SOB; good luck, Ben, you've earned it; Barnabas, I hope it's true vampires are in a state of suspended animation and you didn't wake up in that coffin, night after night, trapped, helpless and slowly going crazy. I can only imagine what a sad life Joshua led after all this?And we know from meeting Daniel as an adult in 1840 that Joshua didn't do such a great job fathering him, either.

So what happens now? Do Phyllis and Vicki exchange places? Will Peter and Vicki meet again? We already know Barnabas' fate--Willie releases him in 1967, something his father feared would happen.

I loved 1795/96. It's by far my favorite storyline, the only one that seems complete, with few open ends and a satisfying, if very sad, ending.

And now, without further ado, on to--or back to--1968!

Love, Robin

455 - (black and white) (Alexandra Moltke) A seance has been held in the great house of Collinwood, a seance which has suspended time and space and sent one woman Winters on an uncertain and frightening journey into the past, back to the year 1795. Convicted as a witch, she is a fugitive from the law. But a child, knowing her hiding place, runs to her from a man who has been paid to kill him.

Noah looks like a goofy elf in that hat. Vicki holds the frightened Daniel in her arms as they hear Noah walking around in the outer room, exploring the walls with his hand. Vicki warns Daniel to keep quiet. Noah leaves and closes the gate behind him, then starts walking away from the tomb. Daniel explains to Vicki that Nathan sent him to the Old House on an errand and this man grabbed him, took him to the fishing shack, and talking about them going away in a boat--he escaped from him. Vicki assures him it's all right. Daniel doubts the man saw him come in there, but might have heard him say her name. Daniel is afraid he'll get her caught. Vicki says Peter is returning with food and medicine, and then they will leave. Not on a boat in this storm, warns Daniel. They have to wait for her arm to be better. Daniel wants to go with them, fugitives or not. He doesn't want to stay--his sister is weird.Get her back to NY, says Vicki, but he insists he wants to go with her and Peter, pay his own way--Millicent signed all her money over to him--they could buy a boat. Vicki asks why Millicent did it, and he explains she did it when she married Nathan, and the latter doesn't like him anymore--he's changed. Vicki is unnerved to hear Nathan is at Collinwood, and she fears for Peter. Daniel says Forbes will turn in Peter and find them, too. Vicki says Peter is very careful--perhaps Nathan isn't there.

Collinwood, Nathan is there. He finds Noah in the drawing room and is furious with him. He closes the doors behind him and orders him out. I lost Daniel, Noah tells him, he got away.Nathan grabs Noah by the lapels, eyes popping, furious. He calls him stupid, threatens to kill him. Noah warns him he'd better let him go or the whole house will know what's going on. Noah explains Daniel went into the mausoleum, called, "Miss Winters,"then disappeared. He wasn't in the tomb, and couldn't have left. He vanished, says Nathan, disbelieving. Noah tells him to give him his money, then hire another bungling fool. Daniel can identify him, frets Noah, and Naomi pushes open the door. Nathan escorts Noah out, telling him he'll help him find a job on a ship. Aye, aye, sir, says Noah, giving him a dirty look. Nathan says he is trying to help a former employee find work.

Naomi wants to know how Nathan can be unconcerned about Daniel, out in this storm, at this hour--he hasn't come home for dinner. Naomi fears something might have happened to him, but Nathan is blase. He curtly tells her he knows his responsibility, and she feels that his not searching for Daniel means he knows where the boy is. She wants to tell Millicent, but he forbids it. He is staying at the house because of his wife, and Naomi should stay away and not upset her about Daniel.Naomi is still upset. Forbes suggests the escaped witch might have taken him, but Naomi insists Vicki isn't a witch. Nathan suspects they'll exchange Daniel for their freedom. Millicent will agree with him, states Nathan, and he wants to ensure his wife's peace of mind. Find Daniel, says Naomi, and he reluctantly agrees to join the search.
Peter spies through the window. Naomi is heading upstairs when she hears a knock at the door. She's glad to see Peter and assures him it's safe. He doesn't want to tell her where Vicki is hiding, but their former governess believes Daniel is in terrible danger. Naomi is upset to hear this. Peter says Vicki dreamed Nathan intended harm to Daniel, but Naomi feels Forbes isn't inhuman. Nathan can't be trusted, says Peter, he lied about Vicki at the trial. What can I do? asks Naomi. We need to leave the country, says Peter, who wants to speak to Joshua. Joshua is in Boston, but will help them when he returns, they have her word, Naomi promises. Peter tells her Vicki was shot in the arm when they escaped. Naomi wants Peter to bring her to Collinwood, but he doesn't want to--he fears Forbes and Vicki is weak. She'll give them what they need. He thanks her. She has felt impotent about all the terrible things that have happened, and she's glad to have a chance to help.

Vicki rests on a cold stone step and Daniel asks if he can help her. He's very sweet and protective of her. Don't be brave, he says. She shushes him. She thinks she hears Peter. He'll be there soon. It's been an hour, says Daniel. Vicki looks like she's in pain. Daniel starts to suggest he's been captured and Vicki says he hasn't, and that's all! She starts to cry. Daniel wants to leave; she reaches out a hand to stop him and he feels how hot it is. She can't stay there, he insists, he'll go get Naomi. He resolutely opens the secret door over her protests and he's ready to run through the woods--he won't let anything happen to her. "Wait!" she cries, but he goes. He exits the mausoleum and tiptoes away. He's grabbed by Noah and struggles in his grasp, screaming for help. Vicki hears him, opens the door and steps outside. She sees Noah strangling Daniel, warns him to stop, and finally is forced to shoot Noah in the back. Vicki asks Daniel if he's all right and tells him to get back in the room; she has to get help for Noah, he might be dying. Do as you're told, she orders, but Daniel says he's going to help her. Vicki checks Noah's pulse. He's dead! she cries, then begins calling for Peter, who is in the woods heading their way. Noah lies dead on the ground, and Peter kneels to check him. He picks up the gun and hears Nathan order him to stand up.He takes away the pistol. "It's back to prison you go," says Nathan, holding his pistol on him, "but this time there's a new charge--murder! Now move!" And he leads Peter away.

NOTES: Vicki always wants to do the right thing, but now she's gotten her new boyfriend in trouble with Nathan, and he's going to be accused of murder. There was no one else around to have done it, and of course, fingerprint technology doesn't yet exist. We have to hope that Peter can somehow escape from Nathan and that Naomi can help both of them.


456 - (Alexandra Moltke) A seance has been held in the great house of Collinwood, a seance which has suspended time and space and sent one woman Winters on an uncertain and frightening journey into the past, back to the year 1795. Where now, branded as a witch, she is a fugitive from the law, hunted, forced from her hiding place, she runs with a child whose life she has saved, but he is still marked for death.

Daniel enters Collinwood through the side window, first checking to make sure no one is around. He closes the window after him, then gestures to Vicki that it's safe to come in--no one is there. He races her to the study, where she sits down. He assures her Naomi is home, and Vicki warns him never to be alone with Nathan, ever. He understands, Daniel says. He tells Vicki to lock the door behind him and he'll knock three times as a signal when he returns. She worriedly observes how long it's been since Peter's been away. Daniel runs into Milicent on the steps--who has kept him up this late, she demands--who is in the room with him, who was he talking to? He refuses to answer, so she goes to see for herself. "Millicent!" he calls to his sister, then chases her. She vows to learn who he was talking to, and he confesses it was himself. She worries her handkerchief, hearing this, Daniel isn't perfect. She'd tell Nathan everything, if he were ever at home--everyone is mistreating her, including her little brother. Naomi races down and hugs Daniel. You spoil him. chastises Millicent, who is upset to hear Daniel went somewhere. Millicent accuses Naomi of lying to her--Barnabas is back! Nathan says Naomi is trying to drive her mad, and she won't listen to her, ever! Millicent runs into the drawing room and closes the doors behind her. Daniel whispers to Naomi that he's brought Vicki back--she's in the study. They go there; Daniel knocks 3 times. Vicki lets them in. Naomi is all set to hug her but doesn't because of her arm. Naomi explains she told Peter to bring her there--at least 2 hours ago. He never reached her, reveals Vicki, sure Peter's been caught. She wants to leave, afraid of getting Naomi into trouble. They'll hide Peter, too, says Naomi, and when Joshua returns, he'll help both of them run away. Daniel tells his cousin abut the man who grabbed him and took him to the fishing shack. They were going to go on a boat, and he was going to tie Daniel up. Vicki starts to explain about killing Noah, but then they all overhear Nathan calling Millicent. Millicent accuses her husband of being against her--he tells her nothing. She didn't know Daniel was away, and he's in the study, unless they're hiding him. They always hide people! Nathan says he'll speak to Daniel, with her permission, and Millicent assures him he's in charge--that's how she wants it. Nathan bangs at the door and Naomi gestures for Vicki to hide in the closet. Nathan insists on speaking to Daniel and Millicent says her husband has more rights than her cousin does to speak to Daniel. When Naomi unlocks the door, Millicent calls her presumptuous. Nathan smiles at Daniel, he's glad to see him back. He wants to hear everything that happened to the boy--he wants to speak to him alone, but Naomi doesn't want to go just yet. Millicent leaves. Naomi explains about the man who grabbed Daniel.Nathan doesn't believe it. Daniel says the man tried to kill him--caught him in the graveyard, was strangling him. Nathan accuses him of lying. Daniel describes him as thin, with red hair, with a scar on his face, dressed like a sailor. That sounds like Noah, says Naomi, Nathan's friend who was there earlier. Nathan says he knows Daniel is lying--Gifford is no friend, and he sincerely regrets his having come to this house, as he's dead now. Nathan discovered Noah in the graveyard, he's been shot, and he already brought the murderer to the constable--Noah was killed because he stumbled upon the witch--by Peter Bradford. Unless the witch is found, says Nathan, Peter will hang before she does. Vicki overhears this and is horrified.

Drawing room - Millicent stares dreamily out the window. Nathan tries to send her to bed. They must do something about Daniel, insists Forbes--Naomi is taking over. She sent Daniel to bed and Stokes to watch over him. He wants a legal document drawn up putting him under Nathan's guardianship. Millicent says there's a witch in the house, she feels it. This interests Nathan. Daniel let someone in the front door, reveals Millicent, she didn't see who, but heard them talking. The house is filled with people who aren't what they seem, says Millicent vacantly, then gets hysterical--she won't go to bed if there's a witch in the house! Nathan leads her away after promising to find the witch.

Vicki paces the study. She hears three knocks at the door and lets Naomi in, who explains that Daniel is in bed and Nathan in his room. Vicki tells her that she must go to the village--Peter didn't kill Noah, she did, to save Daniel. She tells the story of finding Noah strangling Daniel in the graveyard, so she shot him. She had to do it, agrees Naomi, there was nothing else to do. She thanks her for saving Daniel, but she won't allow her to give herself up.Vicki can't allow Peter to take the blame for her crime; Nathan lied about Peter and will get him convicted, too--why is Nathan doing this? Naomi isn't sure, but when Joshua comes home, he'll know what to do. Naomi wants Vicki to stay in her room tonight, so she'll be safe. She tells Vicki to follow her, and they leave the study. Vicki follows Naomi upstairs.

Daniel passes Nathan by silently on the steps, and the ex-lieutenant accuses him of bringing Miss Winters back to the house. You lied about the man grabbing you, Nathan accuses--you're lying! Naomi interrupts, "And I won't let you take that tone with Daniel!" Daniel runs from the house and Nathan tells her to stop interfering--he's in charge of the boy. Naomi denies this, and says she's having the authorities investigate what happened to Daniel, who went into town to identify the man who attacked him. Nathan says he made it up, but she tells him there's a witness. Who? Demands Nathan. Unimportant, she replies--why is Nathan so anxious to know, are you worried? Joshua wouldn't like the authorities to be there, says Nathan nervously. He'd approve, insists Naomi. He hasn't told her, has he, inquires Nathan, about Barnabas? He's in England, insists Naomi. Not true, says Nathan. All right, so you found out he's dead, says Naomi. No, says Nathan, I found out he's not dead.She refuses to listen and he tells her to go to the tower room. You're lying, says Naomi--why would my husband keep it from me? Because Barnabas is a murderer, says Nathan. He's dead, insists Naomi, and tries to force him out of the house. Nathan says she sounds just like her husband before learning it was true. "Your son is the strangler, Mrs. Collins--you think about that before you call in the authorities. Go to the tower room. Go on." And he walks away. She clutches her hands and heads upstairs. The coffin sits in the tower room. Naomi goes there, unlocks the door and sees it. Surprised, she stares at it a moment, then starts to walk out, but turns back.She sets her candle down on a table and begins to lift the lid.

NOTES: Imagine being a mother of a son you thought dead. One man tells you your son is a murderer, another says he's under a curse and must remain in a coffin. Now you're going to learn the truth, a truth you aren't sure you want to know. How will Naomi, who is already so unhappy, handle this?

Love, Robin

451 - (Nancy Barrett) A seance has been held in the great house of Collinwood, a seance which has suspended time and space and sent one woman Winters on an uncertain and frightening journey into the past, back to the year 1795. There, in the village of Collinsport, Victoria Winters has been unjustly condemned as a witch, and the powers of darkness themselves are invoked to undo the curse left behind by a cruel and terrifying force.

Bathia calls out for light and Josh brings over a candle, which makes Barnabas scream and fall away. She grabs her throat. Terrible power, she declares--Angelique is among them, and her power is evil! Joshua gazes around, terrified. Barnabas sits in the chair, still. Joshua wants her to begin again; he felt it was going to work. She can't, insists the white witch--there's danger here for her--life and death for both Barnabas and her, battle between her spirit and Angelique's. He reminds her she has the power, but she says Ang does, too. She must help Barnabas, insists Joshua. She says she can't, but Joshua promises her money, anything. She won't, she's terrified, her powers are only human--nothing more can be done. Barnabas awakens and begins speaking of a ravaged countryside where innocent people are made monsters. He sees good men turned evil, and the source of the evil, the cause of the terror is himself!Joshua begs Bathia for her help. She struggles to decide, then says they must go to the house of the first curse. Not this house, she knows. The Old House, says Joshua. She needs something from the living Angelique, and must not be disturbed--it could prove fatal. Her survival will be her reward, she says, and would mean the death of an evil spirit and the lifting of the curse. In any case, she is hopeful. She tells him to take Barnabas to the Old House and wait for her there (with a little assist from someone feeding her the forgotten lines, a classic blooper). Barnabas follows his father out of the room, and Bathia takes the cross and prays: The power of goodness and light are yours, she says--silence, silence, fear not!

Joshua checks the house to make sure no one is around, then leads Barnabas out the servant's entrance. Millicent spots them leaving. "Barnabas," she says, "I told them you were not dead--I told them!"

Old House - Angelique's portrait hangs above the mantle (when was this painted?) and Barnabas pitifully asks why she looks at him like that. Don't look, suggest Joshua. Don't look at the eyes, warns Bathia, but Barnabas tells them those eyes are looking into the pit of his soul.Joshua gives her a ribbon that he thinks belonged to Angelique. The painting glows when Bathia passes the ribbon over it, and she says it's certain it belonged to her. Bathia warns Joshua again-nothing must interfere this time, if the circle of faith is broken again. . .He promises. Her work and existence depend on his promise, she says, and begins again.

Drink in hand, Nathan asks Naomi about Millicent. He thought Millicent in town with Naomi. He doesn't like her wandering around. Perhaps Millicent is looking for him, suggests Naomi. She's checking on Daniel. He says he'll be there for some time yet and pours himself another drink. He hears insane laughter and finds Millicent hiding behind the drapes. She's giggling madly. Did he bring her flowers? No. When a gentleman courts a lady, he brings a token, she says. He reminds her they are married, not courting. Why are you here, to distress me further? she asks. You're already my wife, he says. Not possible, she protests. He goes to grab her to take her upstairs, but she reminds him of her honor--who will defend her now?--her cousin Barnabas was there. Nathan is surprised.She'll speak to Barnabas and Nathan will come to a bad end, she predicts. She sounds sad, pitying her poor lieutenant, who is destined for such a bad end--never, she moans, never. Nathan realizes his bride has gone crackers, for real. Naomi tries to escort Millicent upstairs, but she protests and says she'll see Barnabas tomorrow. Naomi says it hurts to hear her speak of him. Your grief will end, says Millicent, I will talk with Barnabas tonight and we will see him together, at the Old House--he was in the tower room. Nathan orders Naomi not to listen, but Millicent prattles on about the lights, which Naomi said she saw, too, despite Joshua's protests. She found Barnabas in the tower room, says Millicent, or a man who looked like him. It couldn't be says Naomi. Millicent tells her Joshua has taken Barnabas to the Old House. Naomi starts to leave, but Nathan tries to talk her out of it. It's not safe, he says, but she says she's capable of taking care of himself and he should tend to his wife. Millicent recalls he has a wife and they can never marry. She is betrayed. I will kill you, she cries, and attacks him. He slaps her across the face, grasping her wrists; she sobs for help from Barnabas.

Old House - Barnabas lies on a table, and Bathia walks around it, creating a circle of faith. She holds Angelique's ribbon. It's so dark, says Bathia, so dark--the light will find and destroy Angelique forever!--first, a final warning--free this man from your curse--surrender your power! Barnabas begins to moan, twist his head. She will find her in the dark, swears Bathia, and burn her in the light of her own fire. Barnabas continues to moan. Naomi knocks at the door, hears sounds from within, checks the window, which is covered with a curtain. She calls to Joshua. "Mother?" says Barnabas. He's out of the trance, declares Bathia, all is lost!Joshua goes to the door and Naomi interrogates him. I heard voices, she insists. You heard nothing, says Joshua, ordering her back to Collinwood, now! She goes, quickly, apparently sensing her husband's seriousness. He tells Bathia to proceed. Barn tells them he heard his mother's voice. Bathia holds up a candle and tells him to look at the light. He covers his face and cries, "I CAN'T!" over and over. She tells Joshua that the spell is broken, she can't lift the curse. She's defeated, and what will happen now has yet to be revealed. She's terrified, in great danger. Joshua tells her to leave, and she begs for water. Fire! she cries. Giggling is heard; Angelique's portrait glows as poor Bathia is consumed in flames, screaming, and disappears, leaving no trace of anything. The camera pans on Angelique's smirking portrait and Barnabas' stricken, disbelieving face.

NOTES: How awful! A white witch loses her life and Angelique proves herself just as powerful in death as she was in life--she's seen to it that Barnabas cannot escape her curse. Joshua has tried and failed in this urgent endeavor, which must be a bitter realization for a man who isn't used to it in business, but is rapidly becoming so in his personal life. Sad. Barnabas? calling to his mother always gives me a sensation of having been punched in the belly, it's so awful. A mother never stops loving her son, or a son his mother!


452 - (Alexandra Moltke) A seance has been held in the great house of Collinwood, a seance which has suspended time and space and sent one woman on an uncertain and frightening journey into the past, back to the year 1795. There, Victoria Winters has been condemned as a witch, and sentenced to hang by the neck until dead. One man could save her, but to do so, he would have to reveal a terrifying secret.

Joshua comes in from a storm and tells Naomi, who is plying him with questions, that he pities Millicent, who is with her husband, where she belongs. They need complete privacy, he says. She demands to know what he was doing at the Old House, and he dodges the question by asking why she went there.She explains they found Millicent there, claiming that's where Joshua had taken Barnabas. Naomi knows something strange is going on, that he's keeping something from her, but it's impossible: Barnabas is alive. Joshua looks surprised--and wary. Joshua reminds her she saw her son in his coffin, and Millicent, is mad. Naomi saw a light in the tower, as did Millicent--why did Joshua lie about the light in the tower? I didn't lie--one of the servants must have gone up there, says Joshua--it's insanity to think Barnabas alive and hidden in a room in the tower just because she saw a light. She heard his voice, crying out in pain, insists Naomi--it was Barnabas. Both of our children are dead, Joshua says--the mind can play strange tricks, believe it for your own sake. She did hear voices, if not Barnabas?, says Naomi--what happened at the Old House? I was there with a woman named Bathia Mapes, who had the power to exorcise a curse, confesses Joshua--I believe--reluctantly--that the Collins family has been under a curse. She's surprised to hear of his belief in the supernatural, but he says too much has happened--the witch was Angelique, he reveals--Ben Stokes accused her of it, and I believe that now, says Joshua. I summoned Bathia to exorcise the evil, but her attempts failed. Why did he keep it a secret? She asks. I didn't understand the powers of darkness and didn't want you touched by them, he answers. He's been wrong about other things, including Miss Winters--he'll try to help her--talk to Judge Hanley, tell him she's innocent--he'll have to listen to him. Naomi says the execution is set for dusk tomorrow evening, so he'd better be quick. She is astonished at how he's changed and believes he's still hiding things. He says he's told her as much as she needs to know--believe that for both their sakes.

At the gaol, Peter comes to see Vicki. Once in her cell, he hugs her. She's thrilled to see him--he was gone so long! They kiss. She asks what happened in Salem, and he has to report he didn't find Trask. No one knew anything about him. He stopped at several inns but couldn't find Trask. Vicki wonders why he'd leave a note exonerating her, then disappear. He promises they'll come up with something, but she thinks it's hopeless. They hug. Joshua comes to the cell and joins them. He has come to apologize to Miss Winters, he said, he was wrong about her--he knows she's innocent.Vicki is surprised to hear of this change of mind, and Peter demands to know why. Joshua says it was Stokes' testimony, and when Peter presses, says he doesn't need to offer any other explanations. He's asking Judge Hanley to reopen the trial on the grounds that Abigail was an unreliable witness--he's willing to say that. He was fond of his sister, but she was wrong about Vicki, who, very gratefully accepts his apology. Joshua tells Peter to meet him in the meeting room--he hopes that what he is about to do it enough. Peter and Vicki are pleased, and Peter says this might be the miracle they've been hoping for. They kiss again, smiling hopefully at each other through the bars.

Joshua tells Hanley that he's decided she's innocent--he wants a stay of execution and a new trial. The judge asks if there's new evidence, and Joshua seems to feel his opinion is enough (hell, he's a Collins, that isn't enough?)--Vicki isn't capable of witchcraft; Sarah loved her; Vicki was good to Sarah. Mrs. Collins said much the same, the judge reminds him. Surely Joshua's opinion counts for something, but the Judge says it's too little, too late now--unless he has new evidence to offer. Joshua tells him that Abigail was not in her right mind when she charged Vicki--she was a fanatic, always seeing the devil somewhere, and long before Vicki came to Collinwood--her opinion isn't reliable. The judge says Trask proved Vicki guilty. Joshua shouts that the Reverend was a charlatan. Peter reminds the judge about the note, but the judge had to discount it because there was no corroboration from Trask. Joshua shouts that the judge seems determined to send the girl to the gallows, unwilling to care if she's innocent or guilty. The judge assures him he cares a great deal, but he doesn't believe her innocent. Opinion isn't evidence. What about Angelique? That had to be discounted, too, says the judge--Stokes was unbalanced when he testified. What more can he say, asks Joshua, to stop the execution?Produce a new witness, advises the judge, who knew Angelique and can offer absolute truth she practiced acts of witchcraft--that's the only way. Joshua is forced to admit he can't produce such a witness, and the judge says the sentence of the court must be carried out--Vicki must hang! Peter looks miserable.

Peter and Joshua return to Vicki's cell and give her the bad news. Joshua apologizes, says he did as much as he could."Goodbye," he says sadly, and she bids him he same. Peter says there's still a few hours--that miracle might yet happen. They hug, and the jailer tells Peter he has to go. Peter asks for another minute--I can't leave her, I love her. Vicki protests that he'll only make it worse for her. He tells her he loves her and always will, and asks her to remember that. She can't even look at him, but watches him leave. Out in the meeting room, Peter, desperate, grabs the gun from the jailer's belt and holds him at gunpoint. He demands the keys and tells him he'll kill him if he makes a move or shouts for help. The jailer unlocks Vicki's cell and Peter pushes him in. I won't let them hang you, he tells Vicki. He hands her the gun and tells her to shoot the jailer if he moves. When Peter starts to gag him, the jailer attempts to wrestle the gun away from Vicki. The gun goes off, a bullet striking her in the shoulder, and Peter knocks the jailer unconscious. They hear voices; Peter tells Vicki to lean on him--they must get out of here! There's knocking at the door, and Vicki leans heavily against him as they exit the gaol as fast as they can through a back door.

NOTES: Very exciting ending as Peter, realizing they've been defeated, takes the law into his own hands and busts Vicki out of the pokey. Good job, except for getting her shot, but she's out, and perhaps they have a chance to save her. Imagine Joshua's anger at realizing that his mere word isn't enough to free a condemned prisoner! How dare they, he's a COLLINS, damn it!

I know a lot of people don't like Roger Davis, here or in real life, but honestly, when Vicki and Peter fell in love, it was damned romantic, IMHO. I thought they were cute together and didn't notice how much he touched his hair or his tendency to shout. He was cute, and they looked adorable together. I thought it nice that Vicki found someone after losing Burke.

The question is, will Vicki escape her fate?

Love, Robin

447 - (Nancy Barrett) - A seance has been held in the great house of Collinwood, a seance which has suspended time and space and sent one woman Winters on an uncertain and frightening journey into the past, back to the year 1795. Back to the time when the darkest most hideous secret in the history of the Collins family was born. On this night, Joshua Collins will start to set that secret to rest for all time.

Joshua, amazed and horror-stricken, watches as Barnabas quickly recovers from the gunshot. Barnabas walks around the coffin and says, "Now you know why I was unable to do it myself--it cannot be done--I am already dead!" This is another shock for Joshua, who stares at him, incredulous.

Joshua places the gun on the coffin. What has happened to Barnabas defies all reason! Barnabas says he has no choice, he can't change what's happened. Joshua insists there must be a way--a curse can be taken off, if it can be put on. Barnabas reveals that Angelique was the witch; she wanted him, and used every evil power possible--Jeremiah, Sarah, Josette, all her doing. This stuns Joshua. Barnabas said he learned it a few days after the wedding, and was warned that the family would be destroyed if he revealed her secret. The wrong person was tried for witchcraft, realizes Joshua; I'll see that she's freed. He'll tell the court the truth, somehow, but Barnabas is more important. He hopes he can find someone who can release him from the curse--Trask? He's dead, says Barnabas, I killed him. Josh is further stunned, he can't believe it! I didn't kill Abigail, her heart failed her, says Barnabas, but admits she would have killed her.I can't allow you to go on like this, says Joshua--I'm taking you to Collinwood and keeping you in the tower room, in isolation, until I can find him help. Barnabas refuses, but Joshua is adamant--either come back to Collinwood or he won't keep his secret (he'll tell his mother!), and Barnabas will have to kill him. He orders Barnabas to make up his mind-be killed, or put himself in his father's charge.

Collinwood drawing room - Millicent is happy. Daniel comes downstairs calling his sister, and joins her in the drawing room. He was afraid she'd gone away, but she assures him she'd never leave without telling him. I had a nightmare and felt completely alone in the house, he says--I never had bad dreams before Collinwood. Thunder booms. The house makes sounds that scare him, adds Daniel, and bad things happen to the people in it. A dog howls, scaring Daniel--bad things happen when the dog howls. Millicent denies it, and says he needs a change of scenery--she's marrying Nathan, she says joyously. She wants her brother to be happy, too. Daniel doesn't mind, he likes Forbes.Naomi comes in; she couldn't sleep, either. She sends Daniel to bed with a kiss. Naomi asks Millicent if she's sure she wants to marry Nathan tomorrow; the blonde is very certain--it isn't just because he saved her life--she loves him, very much. Millicent asks if Naomi, too, believes Nathan just wants her money. Wracking a handkerchief in her hands, Millicent says she'll prove Nathan loves her despite her money--she's going to have all her money and property put in Daniel's name. Naomi feels this is a drastic step, but Millicent says Nathan will be able to support her. Naomi feels Millicent should tell Nathan before the wedding what she plans to do. He told her she could renounce her entire fortune and he would still love her, says Millicent, smiling, and goes up to bed. Joshua enters the house quietly and falls back against the double doors with the same expression Barnabas had the night he married Angelique. He gazes at Barnabas' portrait, looking as if he's about to cry. Naomi stares at him and he asks if she's seen Ben. He needs him now. Naomi needs to speak to him--what's wrong with him? Nothing, says Joshua. Naomi demands to know why he changed his attitude toward Forbes. Millicent was going to marry the man no matter what, and he relented to make her happy, says Joshua. Naomi feels Joshua wanted to stop the marriage, but he denies it. They will marry tomorrow; he must locate Ben. Why did you go to the Old House? she asks. I wanted a walk, he replies. Why did he take a pistol?--why was he so anxious to get her out of the house? What's going on?He says she's exhausted the questions and he's exhausted the answers. She feels something has destroyed him, but believes it has to do with Barnabas. Joshua says, "That is absurd!" and quickly walks away from his wife. It's Naomi's turn to stare at the portrait.

Candle in hand, Joshua sneaks Barnabas up to the tower room. Barnabas asks if he really thinks he can stay here--he has needs he must fulfill, beyond-human needs, which he's helpless to resist. Willpower, orders Joshua. (get real, Josh!) Ben will make sure he has everything he had at the Old House--after everyone has retired for the night. No one will discover him; no one goes to the tower. Barnabas asks his father if he's aware of the risk he's taking--he tried to undo the curse by preventing it, and Angelique will stop him if she knows what he's up to--she's dead, yes, but still with them, ensuring her curse isn?t broken. Joshua will deal with the witch if and when it becomes necessary, he promises; Barnabas is his first concern. Joshua closes the door and locks it, looking helpless.

Naomi is gazing out the drawing room window when Joshua comes downstairs. It's late, he tells her, she should go to bed. She couldn't sleep. She asks if he was in the tower room, she saw a light up there. He denies it. No one uses the tower, and it wasn't used tonight. He gazes worriedly at the tower before closing the window.In the tower, Barnabas stands, looking like a lost little boy left alone in the dark.

NOTES:  Superb episode. Nancy Barrett is so good as Millicent, especially that handkerchief twisting scene. As for Louis Edmonds, he made me feel physical pain, he was so effective in Joshua's part, and Frid turned in another heartbreaking performance. Incredible acting on the part of all!


448 - (Joan Bennett) - A seance has been held in the great house of Collinwood, a seance which has suspended time and space and sent one woman Winters on an uncertain and frightening journey into the past, back to the year 1795. There, in the village of Collinsport, Victoria Winters has been unjustly condemned as a witch, while all around her, the current of tragic events continues to engulf the Collins family.

Joshua is staring up at the tower from the drawing room window when Millicent comes down to greet him. She is prepared for her wedding in a simple gown. She observes he's staring at the tower--she saw a light up there the previous night and wondered who was responsible for it. Josh gazes at her in consternation and claims he was just gazing at the sky. She insists she saw a light, and other strange occurrences--noises, hushed voices, footsteps. All her imagination, insists Joshua, but she saw shadows passing across the window. He changes tactics, becoming gentle--he saw and heard what she did, but he says it was the moonlight reflected on the tower's windows. Millicent protests, and Joshua gets testy--I'll need all my patience to deal with this misalliance. She says Nathan is a fine young man, but admits she hasn't told Forbes about turning her money over to Daniel--but she will at the time of her choosing, and prove Nathan worthy. Joshua says if he had any feelings left, he'd pity her. (what a sad admission!)

Daniel announces Nathan's arrival and Forbes enters the drawing room. He kisses Millicent's hand and she chides him for challenging luck. Naomi comes in, wondering why Nathan was so early. Nathan says he just couldn't wait. Naomi takes Daniel out and Millicent says she likes Nathan's impulsiveness. Then she remembers it was stormy the previous night, no room--she saw a light in the tower. Joshua orders Millicent to go with Naomi, and Nathan gazes oddly at Joshua, curious about that tower light. Josh says there were none. "As you say, sir," says Nathan, but Joshua orders him to tamp down on his curiosity. Joshua yells at him to mind his own business, and Nathan says his curiosity has now been satisfied by Joshua's reaction. Joshua looks out the window. We see Barnabas' coffin.

Post wedding - Millicent is attired in a gorgeous veil. (yet another ceremony we don't see) Everyone takes a glass of champagne. Joshua refuses to give the toast, pointedly, and Nathan toasts the woman who's made him so happy--his wife, Mrs. Nathan Forbes. Naomi drinks like she needs it, and Joshua with one raised eyebrow.Nathan thanks Naomi for allowing them to stay at Collinwood, then says he resigned his commission from the Navy. Millicent isn't happy to hear this. Nathan hopes they can make a trip around the world. Naomi asks if she hasn't told him, and Millicent, upset, shushes her, drops her glass, and rushes out of he room, followed by Naomi. Joshua shouts to Nathan, who only wants more champagne, that his wife has made plans of her own. Daniel joins Nathan, who has his feet up and is sipping champagne. He notes Joshua's anger. Nathan is blase--until Daniel reveals that Millicent turned all her money over to him. You married her anyway, points out Daniel, despite that.Nathan is stunned, his blue eyes bulging. Daniel didn't want the bucks, but his sister went to the lawyers anyway--even Joshua has to like him now. Nathan is furious. Daniel predicts Joshua will change his mind about Forbes. Nathan says he isn't angry at Joshua and slams the door, which opens (bloop!), forcing him to shut it again.

Millicent sobs in her room. When Daniel comes in, she tells him to go away. He wonders why she's unhappy--it's her wedding day! Leave me alone, she cries. He asks if Forbes made her cry, and she again asks him to leave. Nathan will be back, she says. Daniel says she can have her money back, but she doesn't want it. He finally leaves, after she asks a third time. She wants. . .she wants. . .and she buries head in her arms and cries.

Nathan returns and Naomi realizes he's been drinking. He'd better not hurt Millicent, she warns. He starts talking about the tower, and she turns to leave him. Daniel reports that his sister is in her room, crying, but when Naomi rushes to help, Nathan tells her that he will attend to his wife. Why did you make her cry? demands Daniel. Nathan looks ashamed. He went into town to get her a gift. Daniel gets scared when she cries. His sister has been upset, but Nathan promises she'll be OK. If he loses Millicent, or she loses her mind, says Daniel, I'll have no one--my sister will have to handle my money anyway, until I'm of age. This realization fascinates Nathan. Daniel speculates that Nathan might have to take care of him, but Nathan promises Millicent's health and mind will be well taken care of-by him. Nathan heads upstairs, his face boding ill for his new bride as he pauses at the top of the stairs.

Millicent chastises him for leaving her on their wedding day. He had left behind a gift and he was searching for it in his quarters. She doesn't believe him, he doesn't really love her. He wants to prove he does. She tells him how--is it true her money means nothing and he'd love her even penniless? She fears telling him, of losing him, but she confesses that she turned her money over to Daniel, then bursts into tears. Nathan laughs, hard. He's so happy, he says--they won't have to worry about the money and he's not angry or disappointed. He loves her. They hug, and she's deliriously happy. She was so scared, she says, but he assures her that isn't necessary--make yourself pretty and we'll go down to dinner. She wants them all to see how happy they are. Nathan spots her earrings on the nightstand and hides one in his pocket. She calls him darling and he says to wear those earrings he likes. She asks where the other earring is, they were just there, but they can't find it. He hopes she hasn't lost it, and he tells her not to let herself get upset. She says she isn't, she's calm, but he orders her to act calmly, then tells her he fails to see any evidence of it. A dog howls, which only Millicent hears. Nathan says he doesn't hear it, is Millicent sure she isn't upset. She sees a light in the tower, but Nathan denies seeing it. He orders her to come to him and insists she try to remain calm. He makes her upset--I do see the light, hear the howling, she cries. I do, too, says Nathan--if you want me to. Thoroughly gaslighted, Millicent bursts into tears of frustration.NOTE:  Nathan is truly an SOB, a human villain who quickly proves he has no redeeming qualities as he did in the beginning. At first he was a charming blackguard, a womanizer, but he worked with Barnabas to hide Vicki. Has Nathan lost his mind? Did chasing the rich but empty-headed Millicent that changed him? Is all this boiling down to money? If so, how sad for Millicent--and Daniel.

Love, Robin

443 - (Grayson Hall) - A seance has been held in the great house at Collinwood, a seance which has suspended time and space and sent one girl on an uncertain and frightening journey into the past--back to the Collins family in the year 1795. There, one young man has discovered a secret which, if he uses it properly, will give him all the power he wants over the Collins family.

Noah comes to see Nathan, who is holding Barnabas' cane, plotting how he's going to make it work for him. As they speak, it becomes apparent that Forbes is using the other, less intelligent man, and that he owes Noah money for helping to get rid of Maude's body-and for something else Nathan has planned, for Millicent. Noah went to Collinwood and stole a fan for Nathan. The Collinsport Strangler--or a reasonable facsimile, is going to strike again, says Nathan, but on a private estate.He gives Noah the fan and tells him to deliver it to the front door of Collinwood. Whatever this plan is, Nathan expects to end up married to Millicent, rich and respectable.

We actually saw a servant on today's show--the maid who delivered the fan to Millicent and who thought it was from a secret admirer. Millicent says she doesn't use fans--they make drafts, and besides, the mother of pearl fan makes her think of pearls, and oysters, and the latter make her sick. She has no admirers, only common women do. Millicent seems even more flaky than last time we saw her.Nevertheless, Millicent opens the fan and uses it--and there is a note that says, "Meet me in the garden. Eight. B." She thinks her cousin Barnabas has finally indicated that he will defend her honor and is very pleased. She brings down the case with the pistols and holds one in her hand. She'll leave the masculine details of the duel to Barnabas, but she'll be there, wearing a new black dress. . .the Countess comes in and is unnerved to see Millicent with the gun. The blonde tells the Countess she heard from Barnabas in England, he said to tell Natalie he loves it, just as she said he would. This is too much for Natalie, who reveals to Millicent that Barnabas is dead. When the latter denies it, the Countess says she saw his body, saw his coffin carried out! Millicent insists she has seen him in the last few weeks and wonders why everyone is keeping him from her--she doesn't know what day it is and has nothing to look forward to. When she tells Natalie she got a note, today, from Barnabas, and finally relents and shows it to her, Natalie sees the note was written on Josette's fan and warns her NOT to meet whoever sent it, if for no other reason than propriety--she can't go out alone to meet a man, even her cousin--Barnabas must come to HER! Oh, that's right, says Millicent, hoping the Countess hasn't lost all respect for her, and Natalie assures her she hasn't if she doesn't meet the sender of the note--and she really should put those pistols away, too. Natalie asks Millicent to let her know if Barnabas does come to her, and Millicent is thrilled to have the Countess for her confidant. (Natalie feels Millicent is more than a little loopy.)

Peter comes to see Natalie--he received a letter from Trask exonerating Vicki, but the authorities are suspicious because it was sent to Peter instead of them. Natalie doesn't want to speak to him about it at first, but he insists, then begins to explain that Angelique HAD to be the witch. At first, she refuses to discuss a former servant, and reminds him of Ben's unreliable testimony about her being the witch, then dead, etc. They opened Angelique's grave, says Peter, and her body was gone--witches can return.He asks her to consider what person benefited most from what happened. Even Natalie realizes that Angelique married Barnabas, thereby changing her position. Everyone on Martinique knows something about witchcraft, admits Natalie. Peter questions her further about Angelique, and she says she hired her because she was young and she felt sorry for her. Ang's mother was a healer who dabbled in potions, another tie-in to witchcraft. Angelique was embarrassed by that, reveals Natalie. Having successfully planted a seed of doubt in Peter's mind, she agrees to look at his letter--and sees the handwriting matches a note Trask sent her. Since Trask has left town, Peter decides to go to Salem to see him, while Natalie says she'll wait and see if Angelique returns.

Millicent, propriety be damned, leaves Collinwood, box of pistols in hand, and heads to the gazebo.Nathan and Noah are waiting there, and it's obvious Forbes has blackmailed the foolish, greedy and not very bright Gifford into yet another scheme. Nathan ties a mask over Noah's eyes and gives him gloves to cover the fact that he isn't wearing the telltale onyx ring. Millicent approaches the gazebo, calling, "Barnabas?" She takes out one of the pistols, scaring Noah into almost fleeing, but he advances on Millicent and attacks her from behind, strangling her with Barnabas' cane after first giving her a good look at it. Eagerly, Nathan watches.

NOTES:  Millicent grows daffier, Nathan more villainous, Noah, still awaiting payment, does another huge, illegal favor for Forbes and the judges are suspicious of the note from Trask, which does not bode well for Vicki's chances to be freed. We know that Peter won't find Trask when he goes searching for him in Salem, and wish Barnabas had turned the note over to the authorities instead of the lawyer for the defense.


444 - (Joan Bennett) - A seance has been held in the great house at Collinwood, a seance which has suspended time and space and sent one girl on an uncertain and frightening journey into the past?back to the Collins family in the year 1795. On this night in the garden on the Collins estate, a young woman expects to meet someone who will defend her honor.

Nathan steps in as Noah is strangling Millicent and gives him a couple of realistic punches. Noah hits Nathan with Barnabas' cane and runs off. Now Forbes plays the sympathetic ex-boyfriend, checking to make sure the gasping Millicent is OK. She's sure it was Barnabas who attacked her, and tells Nathan about the note she received from Barnabas, which brought her to the gazebo. All she knows is, she's very grateful to Nathan for saving her life. He pulls a modest "Aw shucks" attitude, but she insists he's brave. Naomi calls to Millicent and the latter asks Nathan to answer; her throat is still sore. Naomi is shocked to see Forbes, wanting to know what he's doing on Collins property, but Millicent quickly explains how he saved her life. Forbes explains that he just stopped by, risking his life, to say goodbye to Millicent. He asks to speak to Millicent alone; she begs Naomi to permit it. The older woman reluctantly agrees.I'm leaving at daybreak, he says, keeping my promise to Joshua to get a transfer. Oh, says Millicent, must you leave so soon? Yes, he says, playing hurt to the hilt--it would just be too painful to stick around now. I know I hurt you, he says, taking her hand, but not maliciously. He does have a conscience and will live with the guilt of what he did to her forever (it's getting hip-deep in here). You seem different, says Millicent, but Nathan denies it (and is telling the truth)--it's too late to be sorry, and I know how wrong I was--I must go home and pack for the first leg of my trip, to Boston. Millicent asks if he could stick around Collinsport for a while longer; Joshua wouldn't mind, and SHE sure wouldn't. . .As a parting shot, he tells her he loves her very much, kisses her forehead, and hands her the box of pistols. "Goodbye, Millicent," he says sadly, and she responds in kind. Nathan realizes how well it went, and grins after her departing figure.

Upon their return to Collinwood, Millicent tells Naomi she wants to discuss Barnabas with Cousin Joshua, his brutal attack on her, his note, and his strangling her with his cane. Absurd, says Naomi. Millicent insists she must make a "gesture" to Forbes for saving her life, but Naomi thinks it best that she not see him again, let him go, start a new life. Naomi heads upstairs to bed and Millicent starts to leave the house, stares out at the storm, and stops.
At his lodgings, as he packs for his "departure," Nathan brags to Noah how well it went; his plans are going perfectly! Noah, who fears the girl saw his face and will identify him, just wants his money and to get out of town, but Nathan says he must wait until his plan comes to fruition, then there will be plenty of bucks for both of them?right now, he's broke. Nathan confidently insists Millicent is coming to see him, and very soon, and wants Gifford to get out, but Noah doesn't want to let Nathan out of his sight and insists on staying. It takes quite a while, and you can see Nathan getting nervous. Hearing a knock at the door, Forbes hustles Noah out another exit, hides Barnabas' cane under his bed and opens his door to find Millicent there--again, propriety be damned! He tells her he's delighted to see her, although it's going to be painful saying farewell yet again. She wants to know if he HAS to leave, calling him a brave and noble man. Perhaps she misjudged him, murmurs Millicent. He admits he deceived her and she had every right to be hurt and angry; and he feels leaving would be the best thing for both of them. He meant it when he said he was sorry, and that he will always love her. Millicent gazes at him, her heart showing on her radiant face. She can't face never seeing him again! "Please stay here in Collinsport!" she begs Nathan, falling into his arms. Embracing her, he grins over her head, smiling a winner's smile.NOTES:  We already know that even if Millicent insists, Joshua and Naomi will not allow them to marry, so where is this relationship going to go? I have to give the blackhearted Forbes credit--without using the black arts, as Angelique did, he managed to manipulate Millicent into admitting her love for him--and she was ready to have him shot to preserve her honor! Of course, her gray matter isn't firing on all cylinders at this point, but it isn't her brain Nathan loves, just her money--and now that he's wormed his way back into her heart, he's going to continue the journey into her pocketbook.

Wonderful performances all around.

Love, Robin