870 - Barnabas and Pansy stare at each other, he in curiosity, she in horror.
Is this the real Barnabas Collins? asks Quentin. This man...begins Charity...I ain't never seen this man before. Barnabas' face registers immediate relief. Of course you have, insists Quentin, you put a stake through his heart! No, this ain't the same man, ain't the vampire, she says. He accuses her of saying it out of fear, but she assures him this isn't the same one, and that's the truth!--now can I go? Yes, says Q reluctantly, go on. She seems thrilled to be leaving the room, but takes one more look back before she does. We see Barnabas and Quentin reflected in a mirror. Barn sighs, "You still refuse to believe me." My dear man, says Q, I am unwilling even to take the slightest risk--if you really were a prisoner of the vampire, you would understand my attitude. He gives Barnabas a dirty look and leaves the room. Barnabas looks exhausted.
Down in the foyer, Judith and Edward discuss the new arrival. Do you believes Barnabas' story? asks Judith. In light of the evidence, says Edward, what else can I believe? And the coffin's been destroyed, along with the body? she asks. Yes, the vampire no longer exists, Edward assures her. I still feel. . .begins Judith--isn't it terribly strange that two men, looking exactly alike, show up claiming to be a distant relative (hey, they never get THIS analytical on DS!) from an unknown branch of the family, to arrive within the same few months? Edward agrees--it's odd (but his wife was a Phoenix). That this man can walk about in broad daylight proves him different from the other Barnabas, insists Edward. I still don't like the idea of him being in the house, says Judith. If we send him away, protests Edward, and he's innocent, we'll be guilty of worse wrongdoing. Unhappy, Judith finally agrees--we will give him the benefit of the doubt--will Barnabas will feel well enough to join us for dinner? I'll go ask him, says Edward, and exits. Charity troops downstairs as Edward is coming up. Gaily, she asks Judith, did you have a nice day in town?--and helps her remove her shawl. Yes, I did, replies Judith. They get down to their real business after Edward disappears. Judith, dressed in stunning green velvet with white trim, asks, "Did you do what I asked you to?" Yes, Charity assures her. They enter the drawing room so Judith can examine the portrait of Amanda. Trask saw the picture a short while ago, says Charity--he was hopping mad--I wish you could have seen it. I imagines he'll be talking to me about it soon enough, says Judith. What will you tell him? asks Charity. The truth, says Judith. Then why did you send me to buy the picture? asks Charity--you could have gone yourself. I felt Tate would more likely sell it to you, says Judith. You're the crafty one, praises Charity. People have been underestimating me all my life, says Judith--my family, my lawyers, now my husband--all that is going to change very soon--I learned a lot while I was away, and saw the truth about certain things, like why I was sent to Rushmore (she gazes angrily at the portrait). Why were you? asks Charity. We'll discuss that some other time, says Judith--thank you for getting the portrait. Oh, it was worth it just seeing Trask's face, says Charity. Judith walks over to the portrait--what she was like? she asks. Sort of fetching, like her picture, says Charity--he went around telling everyone he was trying to save her soul. I'm sure it was her "soul" he was interested in, comments Judith--he must have spent hours trying to find it. They were a bit "chummy," reveals Charity. That's a quaint way to put it, says Judith. What are you planning to do with the picture? asks Charity. "I'm thinking of hanging it in the master bedroom," says Judith. (on the ceiling, perhaps?) In with you and Mr. Trask? asks Charity, surprised. Why not? asks Judith, Mr. Trask has always taken pride in the souls he's saved--it's only appropriate that the portrait of his latest "achievement" should hang on their wall--"You see what a devoted wife I am?" I see what a smart one you are, says Charity, and am getting to like you more every day.
Kitty enters Collinwood's front door. She looks around, knowing something has happened in the house--I suddenly feel so frightened! From behind Barnabas' portrait, she hears the sound of a heartbeat, and a strange light glows where his eyes are. Kitty, terrified, backs away, her breasts heaving. Barnabas' portrait flashes in front of her; the heartbeat grows louder and louder. Kitty, becoming more and more scared, finally grabs her head and screams, "Stop it!" Charity and Judith come running out to assist her.
When they ask what's wrong, she says, I don't know, I felt all right outside, but when I came inside, I started to feel faint. She refuses a doctor--I'd just like to go to my room. Charity sympathetically helps her upstairs to lie down.
Quentin tells Barnabas--there's only one way to learn the truth. He flexes The Hand, telling the sleeping Barnabas it's something you can't resist--when I place it on your forehead, you will wake and tell me what I want to know. The hands is nearly on Barnabas' face when someone knocks-- Edward, asking what are you doing in here? Checking on the patient, who might recover sooner than we thought, says Quentin. When I spoke to him earlier, says Edward, I hoped he could come down and have dinner with us.
He's been invited to dinner? asks Q, annoyed. Yes, Judith wants to meet him, ask him some questions, says Edward. Let's hope she doesn't accept his answers as readily as you did, says Q, turning on his heel and walking out.
Charity helps Kitty to her room. Kitty thanks her and sits down on the bed. You should get out of your dress and under the covers, advises Charity--I'll go down and fix you some broth. Kitty refuses, but Charity won't take no for an answer--I could see you were trembling when I helped you upstairs--my mum always fixed me broth... I can't possibly eat anything right now, says Kitty. Silent a moment, Charity says, you were frightened when we found you downstairs--what was it? As soon as I came inside, says Kitty, I felt myself in danger, from someone in the house--I don't know who, I wish I did. Charity ponders it--I can't think of anyone in the house who'd want to harm you. I still feel it, says Kitty, like a presence trying to speak to me. Let it, advises Charity. No, says Kitty, terrified, I mustn't do that, must not let him find me, must resist her! You poor thing, murmurs Charity--lie down. Charity closes the drapes, darkening the room. She finds the music box. Put it down! orders Kitty hysterically. Charity recognizes it as the one from her vision. She starts to open it. Kitty begs her not to--leave the room, she says, I've got to fight him alone. She doesn't answer when Charity asks, WHO must you fight? Just go, begs Kitty. There's a knock at the door--Edward--Judith told me you weren't feeling well, he says. I'm all right, Kitty assures him. Charity raucously informs him--she's lying; she's frightened of someone in this house. Charity, please! says Kitty. That you for helping her up, Edward says to Charity--you can go now. After she leaves, Kitty confesses to Edward, I've had another of my attacks. He's sympathetic. I'm so afraid we'll never find out how to stop them! cries Kitty. Don't say that, he begs. You were right that first time it happened, she says--you told me it was all in my mind, now I'm convinced it is. I don't believe that anymore, he says. I do, insists Kitty. These objects that are haunting you, he says, are real! I feel so frightened and helpless! she sobs, but I don't want to be a burden--I think I should leave before something terrible happens. He kneels beside her--please don't leave, he pleads. What earthly reason do you have for wanting me to remain? A very good reason, he says, I believe there is a solution for you, one we've never discussed before--I believe the trauma of being widowed so young, of losing someone as devoted to you as Gerald was, can only be replaced by the love of someone else--perhaps it's wrong of me being Gerald's closest friend, to say this, "But I've loved you from the moment you came to Collinwood-- I'm asking you to marry me, Kitty."--I had intended to propose after a proper period of mourning, he explains--if by so doing now, I've offended you, I'm sorry. Not only am I not offended, trills Kitty--I'll marry you! They kiss, like a pair of statues.
Down in the drawing room, Barnabas is telling a sickened Judith, and Quentin, who stands behind her, that after the ordeal was over, I barely knew myself anymore--when I wandered into the doctor's office, I was in a state of shock. It must have been terrifying, sympathizes Judith--I don't know how you survived it! I apologize for the affect my arrival had on all of you, says Barnabas. Quentin gazes skeptically at him. I admit, says Judith--the family has had more than its share of suffering the past few months--we've learned to be wary of all strangers. Perfectly understandable, says Barn. Quentin asks about his life in England--you've told us almost nothing about that. Looking uncomfortable, Barnabas explains, after my father died, I saw no reason to stay in England, so I decided to start a new life in America. Why here? asks Quentin. Because it's where the family's roots have always been, says Barnabas--I felt when someone is left alone in the world, he should go naturally to where the family is. He looks up, stunned, as a beaming Kitty and Edward enter the room. Edward introduces Barnabas to Lady Katherine Soames as Quentin sharply watches. It's nice to meet you, says Kitty. Barnabas takes her hand and assures her, the pleasure is mine. Sit down, Edward urges Kitty, and he stands beside her. Quentin asks Barnabas, have you spent much time in London? Only on business, replies Barnabas. I wondered, says Quentin, because Lady Hampshire is from there--do you know her late husband, the Earl of Hampshire? No, says Barnabas, I never had that pleasure. What was your business? asks Q. Judith interrupts--Cousin Barnabas has answered enough questions, and dinner is ready, anyway. Quentin stands, arms crossed, looking irritated, as Barnabas, paired with Judith, and Edward, paired with Kitty, head into the dining room we never have seen, because how often do we see these people eat?
9:30 PM - The group is back in the drawing room. Quentin offers brandy. Not this evening, says Edward, we're having champagne! He begins to pour. What's the occasion? Asks Quentin. A special, important announcement, says Edward, handing Quentin two glasses, instructing him, give them to the ladies. What announcement? asks Judith. You'll hear after we all have champagne, promises Edward. Quentin hands glasses all around. Edward stands beside Kitty and says, "I'm very proud and happy to announce that Kitty and I are going to be married."
Barnabas looks dismayed and shocked. Quentin chuckles, and says, Edward, you're full of surprises. Judith congratulates the newly engaged couple. Quentin raises his glass and drinks, but Barnabas can't seem to join the celebration. Judith asks, when will the happy day will be? Kitty, joyous, says, we haven't had time to think about that yet--we only decided tonight-- Edward surprised me, too. Quentin remarks on Barnabas' curious silence. Barnabas apologizes, then rises and offers his congratulations to Kitty and Edward--I know you will both be very happy. He takes a sip of champagne and says, I'm still feeling weak and should retire. We understand, says Edward. Barn thanks Judith for the delicious dinner. I hope you'll feel better tomorrow, she says. Barnabas bids all of them good night and leaves. Edward asks Judith, what do you think of our new cousin? He's open and charming, she says, his story quite plausible-- he can stay until he's fully recovered--now, tell me about your plans, she asks Edward and Kitty.
Midnight. Barnabas sits in his room, unhappy. He stands and speaks to Josette--wherever you are, hear me--I'm not wrong about you, you are Josette, MY Josette! This marriage cannot take place--it must not take place! Know yourself, my darling, be who you are destined to be!
Kitty lies on her bed and begs-- whoever you are, please leave me alone! I want to leave this room and come to you, but I don't know why! It frightens me, I must not give in to you, I must stay here, and yet... She rises from her bed and takes the music box from the mantel. She opens it, listens, and becomes entranced by the music. She smiles. We see her and Barnabas in profile for a moment, facing each other. He says, "I cannot go away! There is too much for me to do here! But I can't stay in this house and watch her marry someone else--when it happened that way before, it brought tragedy and death. Have I come back to tragedy and death again? Oh, Josette, Josette, it is over before it's even begun?" He turns. Kitty is standing there, smiling. "I heard you call," she says, entering his room.
"I have come--I am your Josette, and I shall be--always." They kiss.
NOTES: Oh, boy, a lot happened in these shows! Other soaps back then moved at a snail's pace by comparison. Kitty kissed Edward and Barnabas in one episode. Quentin was amusing in his one-note and solo attempts to get his newly arrived cousin out of the family. It must have frustrated him so when Edward and Judith so easily accepted him and Charity insisted he was not the "bad" Barnabas.
Always loved that kiss between Barnabas and Kitty. It was nice, and they look good together, too. Can it possibly end happily? Tragedy and heartbreak are regularly served for dinner at Collinwood! I wonder--have Kitty and Barnabas been meeting in secret all this time we thought him dead? They seem pretty intimate already, don't they?
Edward and Kitty each think the other have money, the only reason these two have hooked up--what a sham of an engagement this is! Imagine if Carl Collins had been around, how much he would have enjoyed it!
Now we know who wanted that painting bought, and who had the bucks to buy it. Judith wants to play some head games with hubby, and can you imagine Trask looking at that painting while he's making love to Judith (if she's even letting him, and he's probably imagining she's Amanda, anyway). Go, Judith! Sic him!
871 - Barnabas and Kitty gaze lovingly at each other.
You ARE Josette, he murmurs--I knew it the moment I saw you. "Then where have you been?" she asks teasingly--"Why have I had to satisfy myself with a music box for a reminder?" "My dearest love, forgive me," he asks-- "There were circumstances that kept us apart, but now they are past."--Nothing will keep us apart now, he assures her, of that I am certain. Then so am I, she says--no one will come between us. As they are about to kiss again, thunder rolls. Barnabas, feeling a presence, asks, "Who's here?" Jeremiah, says Kitty--he warned me to leave Collinwood before it was too late. The door blows open. Barnabas closes it. Jeremiah, if it is you, leave us alone, says Barnabas, this time it will not end as it did before--you will not keep us apart. Kitty, back to herself, demands, who are you talking to?--what am I doing here? "You came to me, my dearest," explains Barnabas, "because I wanted you to!" You're lying, she accuses--I'm only here because you willed me to be--and you're responsible for everything that has been happening to me! She tries to leave, struggling to open the door while he works, with equal effort, to stop her. I must speak to you! he begs. "Let me go!" she cries. She succeeds in opening the door and hurriedly leaves. I thought no one could come between us this time, he says to himself, but I was wrong--Kitty Soames can come between us...
Petofi enters the rectory, looking around. Hearing someone coming, he hides. Angelique, looking very fetching in blue and white, comes out. Quentin? she calls. How did you escape Petofi? he asks. "I just did," she replies--I have another friend waiting to see you--she opens the door she just exited to reveal Barnabas. "Hello, Quentin," he says.
Petofi, amazed, whispers, "You were dead, I saw you in the coffin." Barnabas says, you saw what we wanted you to see. It was you, insists Petofi. It looked like me, thanks to Angelique, says Barn. Is this some new trick, or bargain you've made with Petofi? QIPB asks. Stop torturing himself and listen, says Barnabas--the time is over when no one will listen to you, you are no longer alone. This is part of my plan, explains Barn--I contacted Angelique, now you--we will fight Petofi, promises Barnabas, even if the situation is worse than I thought. We couldn't tell you the plan until now, says Ang. Now they will tell you everything, says Barnabas--when Julia arrived from the present, I knew I could be cured of vampirism, move more freely, and fight Petofi--I had to make sure everyone at Collinwood would be convinced the vampire was dead, so we had to make sure the vampire DID die. Angelique takes over the story, describing how one night, before the vampire was killed, Barnabas and I were alone in a hidden room--(flashback time)--Angelique asks Barnabas, are you ready? Yes, he replies. She places him in a special room for a few moments, in front of a mirror. When he leaves the room, he asks, did it work? I don't know, she says--you must go now; everything else that is to be done, I will do. She clasps her hands after he leaves and intones, "Since sleep is the twin of death, then death is the twin of life. Sleep in this mirror until you are awakened, twin of Barnabas Collins!" There is a crash of thunder. Angelique looks into the room, where we see Barnabas' image in the mirror. "I've trapped it!" she exults.
Angelique trapped the reflection, continues Barnabas as Petofi listens carefully--that was the beginning of the doppleganger--that midnight, she went to the graveyard and returned with earth from the newest grave. "As death is the twin of life," says Ang, holding the dirt in her hands, "you, the twin of Barnabas, take the breath of life from death, leave the frozen world and come to life--come to life--come to life!" She sprinkles the earth in front of the reflection. From its depths, another Barnabas, whole, emerges. "I've done it!" she cries. "Made the doppleganger, able to move and walk and live--and die!" Her face convulses with joy.
So that's what lies in the coffin? Petofi asks Barnabas. Yes, says Barn, and that's what was destroyed. After it happened, Julia started giving me injections but was called to the present, so Angelique continued to give them, all except the final one--at that time, I was in a cave not far from the coffin. When she didn't appear to give me the last injection, I couldn't find her, and became so ill, I went looking for help, but couldn't find out where anyone was--I knew it was dangerous for me--I think I saw Aristede, but I can't remember, and then I recall being in a hospital room, where I was delighted to see who I thought was Quentin--until he pointed a gun at me and threatened to kill me--I couldn't understand it. You do now, says Petofi. Yes, agrees Barn. How did you escape from him? asks Petofi. They kept me there until sunrise, says Barn--I didn't know what would happen when the dawn came, but it did come and I didn't die--then I was more or less accepted at Collinwood. Now that Barnabas is here and we all know the truth, we can help you, promises Ang. I can't forget I was the one tempted to destroy you, says Petofi. I'm sorry it had to happen that way, says Barnabas, but we were forced to do things we didn't want to do until we could destroy Petofi. Yes, says Ang, we must put the past behind us--there is so much to be done. Yes, agrees Petofi, you're right-- there was one thing I tried--the portrait, I tried to have it stolen, thought it would be insurance against Petofi going to the future--but I failed. No matter, says Barnabas, I'll do what I can to retrieve the portrait, but we must work separately. It's best for Angelique to stay hidden away, while I continue to be Barnabas Collins with no suspicions that Quentin isn't anything more than my charming cousin. I hate it, says Petofi--I will continue to be the Count.
Petofi's lair at the mill - Tate hits the booze hard, telling himself, I should stop--I've been doing too much of it, but I need just one more to steady my nerve, my hand. He is about to take another drink when Petofi comes in and asks, what are you doing here? Tate grins and says, the former Charles Delaware Tate is waiting for you. You're drunk, Petofi observes. Yes, says Tate--drunk and an artist who can't even hold a brush to paint--I've suffered enough--please, please give me back my talent, begs Tate. You aren't the only victim of Petofi, says QIPB--he took away your ability to paint, but far more from me--he took my body and trapped me in his! What? asks Tate. I'm not Petofi, I'm Quentin, says the man. Tate doesn't believe it--come on, he shouts, you didn't take away my mind, or my eyes (I think he poked himself in the eye on this one), or my ears! I know what you did to me, please, please give me back my talent! I can't, says Petofi. All right, says Tate, slamming his hand against the wall, breaking the bottle. Get hold of yourself, advises Petofi, go home and...Tate, now pointing a gun at him, says, hear me out--I know it's suicide to kill you, but I don't care anymore--and don't call me Charles, I am not Charles Delaware Tate and only care about one thing--I'm going to see you die! And he aims the gun at Petofi's face.
You can relax, says Tate--it will all be over soon. "Yes it will be," agrees Quentin from the stairs-- "For you, Charles."--I warned you not to interfere in my business, but you didn't listen, and I won't be so merciful this time. Tate moves to shoot Petofi, sending Quentin into hearty laughter. Apparently, Charles is impotent on the trigger. Quentin asks him, "What's the matter, my boy, can't you use that gun?" What is it? demands Tate--what's going on? I tried to warn you, but you wouldn't listen to me, says Petofi--"I am Quentin." And he's Petofi? asks Charles. Yes, that is right, says Q, I am Petofi. No, says Charles, sitting on the sofa, defeated. We could have helped each other, laments Petofi, if you had listened to me. Stop educating in the ranks, orders Quentin--where is Barnabas? Barnabas is dead, answers Petofi. And Angelique? asks Quentin. You and Aristede took her away with you, says Petofi. He's gone, too, says Quentin, but I suppose you know nothing about that. No, says Petofi. I see, says Q, you aren't going to help me--then I'll have to do without you--now get out, I have business with Charles. Petofi leaves. Quentin looks at the nervous Charles, who asks, are you going to kill me? Very likely, replies Q, more likely than my restoring the talent that I gave to you. Tate begs him--I'll do anything if you restore my talent! You have things reversed, says Quentin--first YOU will do anything, then I'll restore your talent--perhaps--a definite promise can sometimes prove embarrassing, my boy. Desperately, Tate grabs him and says, you're the only hope I've got. Quentin wrests Tate's hands off him, saying you've got trouble with your hands, but there is hope--some. He opens a drawer and takes out the I-Ching wands. Tate knows what they are. Quentin asks, do you know what I wants you to do? Test the 49th hexagram, guesses Tate. Exactly, says Q--are you afraid, Tate, tell me! I'll do anything you want, vows Tate. When you go into your trance, says Q, I'll place my fingers on your temple, control your body--if you choose the wrong door, I might be able to save you from destruction. Thank you, Petofi, says Charles, amusing the Count--did you ever think you'd be saying that again?--the world is beautiful and strange, so full of changes and surprises--cast the hexagram and let's see what surprises await us now. Tate tosses the wands on the table. Quentin is orgasmically thrilled to see he threw the 49th hexagram, that of change--a change of face could mean success--this could be the one--sit down, Charles. He places his hands on Charles' temples and says, tell me what you see on the other side of that door--tell me everything!--where are you, Charles? Collinwood, the drawing room, answers Tate, but it looks different, the people are different, too--a little boy, little girl and a woman, another woman has just come into the room, and they've greeted her, called her Julia. She's about to read a newspaper .Ah ha!--can you see the newspaper clearly--the date? demands Quentin. Yes, says Charles, eyes huge, it's October 28, 1969. Quentin is ecstatic--he repeats the date, removes his hands from Charles' head and scatters the wands on the floor. What happened? asks Tate.
Q says, "What I've been waiting for, Charles--I have found the right hexagram! Do you realize what that means? I know the way to the future! I know the way to the future, and nothing can stop me now!"
NOTES: This is NOT what Barnabas wants to happen! Having Petofi in the future in Quentin's body can mean nothing but misery for the Collinses of the present. Let's hope that Barnabas can prevent this from happening and restore Quentin to his rightful body.
Wasn't it a lovely moment when both Angelique and Barnabas assured QIPB that he isn't alone? I was so happy for Q. The story of how Barnabas, Angelique and Julia made this work is pretty wonderful, isn't it, and ties in nicely with what we've seen before? Can you believe that Ang turned doctor after Julia was taken back to the future? She gave Barnabas his injections and actually finished curing him--fortunately for Barnabas, he didn't need that last shot!
Who is going to be the victor here, the former Victor Fenn-Gibbons or the stalwart team of Barnabas, Angelique and
Quentin?
Stay tuned!
Love, Robin
