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
