I love Barn's moment of sheer fury at Aristede, very nicely done by JF (he roars very well). Then Barn realizes that he has to check on Julia, whether he wants to or not. Another nice shot when we see that the bullet has shattered the chair back without harming Julia.
Petofi makes Angelique an offer she can easily refuse, and does. It's fun to see Petofi in the wrong for a change, when he completely mistakes Angelique's motive for marrying Quentin, and it's also fun to see how she leads him along.
For some reason, we get a shot of a beautiful detail of the stained-glass window at the old rectory. I gues the director really wants us to know where we are.This makes twice in just a couple of days that Barn has to look after his "dear friend," this time settling her in a chair and giving her a cup of tea. Julia is recovered enough to discuss why she didn't die from being fatally shot. Julia says, I have only one explanation that makes sense. She provides it while gazing into a full-length, cobweb-streaked mirror: When you came back to the past, your physical body remained in the future. The same thing must have happened to me (even though we saw Julia’s physical body make the trip only five episodes ago!). That doesn’t account for the fact that you went unharmed tonight, Barnabas points out. I’m still vulnerable--why aren’t you? Because _you_ existed in this time before, Julia explains. You had a host body here to receive your essence--I didn’t (thus making him the only American to sleep through the Civil War). My physical being is still in the present, Julia finishes. Incredible! Barnabas exclaims. But now they have to make sure that Petofi never learns that he can't harm her. Meanwhile, Julia is irritated that Angelique has turned up--no doubt she remembers all the grief that Cassandra caused.
It is surprising that Petofi somehow assumes that Julia is still alive. BUT I suppose he arrives at that conclusion in light of the absence of blood that a very corporeal Julia would have shed. I guess because Petofi didn't find any bloodstains, he assumes that somehow Barnabas figured out Aristede's trap and defused it somehow, rescuing a live Julia. How Aristede could have kidnapped the incorporeal Julia, let alone tie her to a chair and gag her, the writers do not vouchsafe to explain. I guess they really do think they can have it both ways.
Apparently, Julia's note inviting Angelique to the old rectory must have given no hint of its sender, because for once Angelique is totally taken aback when Julia opens the door. Julia enjoys Angelique’s surprise and assures her matter-of-factly, I am who you think I am. But things degenerate from there, with Angelique warning Julia, Let me give you one word of advice, Dr. Hoffman. The pursuit of Barnabas Collins can lead to nothing but misery. He is a cold, harsh, unresponsive man. Who made him that way? Julia parries instantly, her voice sharp as a knife blade. Angelique has the grace to pause and look away. But she is amused when Julia says that Barn needs her help to conclude his by now very nebulous mission.
Eventually, Julia and Angelique have actually become frenemies in an indeclared temporary truce. Angelique allows that Julia's plan to help Barn is very clever. In the end the eternally vain Angelique uses the mirror to give Julia a hint of how she plans to help. And Julia is very well pleased. But the next thing we know, it's nightfall. Barn returns and says the plan (which Julia must have explained to him before dawn) has to be speeded up.
As if poor Amanda isn't tormented enough already by the knowledge that she is an artificial construct, Charles just has to prove it to her by drawing a man who then appears right before her eyes!
The director gives us another view of Petofi's beautiful music stand at the old mill. Naturally CDT's little tale of "experimentation" (in a nice, nonblustery turn by RD) takes place in--where else but that den of iniquity, Greenwich Village!
Apparently Charles was quite a wild man before meeting Petofi.
Barnabas has departed for his day's rest. Apparently J